KUALA LUMPUR, Feb 28 — Taiwanese drama Sunshine Women’s Choir topped Malaysia’s box office earlier this month, marking the strongest showing by a Taiwanese film here in eight years.

It ended the seven-week reign of local animation Papa Zola The Movie to claim the No. 1 spot on February 6.

The film has since grossed RM3.35 million locally, challenging the view that Taiwanese films are simply light entertainment.

What made the film resonate so strongly with Malaysian audiences? Malay Mail breaks down its rare crossover success.

A story of redemption and sisterhood

Directed by Gavin Lin, the film has quietly captured attention across the nation since its premiere on January 15.

It features an ensemble Taiwanese cast including Ivy Chen, Judy Ongg, Chung Hsin-ling, May Suen, Ke-Li Miao, Amber An, Annie Chen, Manxi Ho, and 7LING.

The story follows Li Hui-Zhen (Chen), who gives birth to a baby girl in a women’s prison, where three fellow inmates — each carrying their own painful pasts — welcome and support her.

When the child is diagnosed with an eye disease and Li decides the best option is to send her away for treatment, the inmates form a prison choir to create a lasting memory for the child.

Over time, the choir becomes more than just music — it becomes a journey of emotional healing and redemption for many of the characters.

The film’s success has not been limited to Malaysia.

On February 14, it became the highest-grossing Taiwanese film of all time, earning over NT$545 million (around RM67.9 million) and surpassing Cape No. 7 (2008), which had held the record for eighteen years.

In Malaysia, the last Taiwanese film to achieve notable commercial success was More Than Blue (2018), also directed by Lin, which grossed over RM6 million.

Tugging at local heartstrings

The film moves seamlessly between laughter and sorrow, grounding its emotional beats in moments of striking realism.

That emotional intensity appears to be a key factor behind its strong reception, with viewers pointing to its powerful performances and tear-jerking climax.

Speaking to Malay Mail, Eng Ker Loon, 45, described it as “emotionally manipulative and overly sentimental”.

“Yet it is equally entertaining, affecting, and almost completely irresistible.

“Bring tissues or better yet, a handkerchief,” he said.

He admitted the story has its weak spots — sudden character shifts, rushed pacing, and occasionally over-the-top emotions — but said the strong performances of both young and veteran actors make the film enjoyable and leave a lasting emotional impact.

Freelancer Azhar Ibrahim, 23, noted that the film does not just focus on the mother-daughter relationship but also highlights the importance of close friendships.

“The mix of emotional conflict, character development, drama, and touches of musical and comedic elements in the plot makes the film more engaging to watch,” he added.

“The movie gives the audience no chance to stop crying at the climax — after one sad scene, another even sadder one follows, and the ending leaves a deeply lasting impression.”

Mohamad Naim, 29, also praised the film for its unique story, particularly how it portrays women in prison forming strong bonds of sisterhood.

He highlighted the unusual plot, in which a woman gives birth in prison and her child is raised with the support of fellow inmates.

“I’ve never seen this concept in a movie before, which makes it really unique,” he added.

Malaysian movie review blogger Xavier Naxa said the film strikes a careful balance between humour and heartbreak, making it both emotional and engaging.

“It wouldn’t be an exaggeration to say that your tears may start flowing by the middle of the film and continue all the way to the end,” the Instagram post reads.

Its performance at the local box office highlights a growing appreciation among Malaysian audiences for regional films anchored in emotional depth rather than spectacle.

By focusing on flawed yet relatable characters, the film connects in a way that feels intimate and authentic.

As it continues its theatrical run, its reception marks a rare crossover moment for Taiwanese cinema in Malaysia.

Sunshine Women’s Choir reflects how stories rooted in compassion and resilience continue to find an audience here.