In this blog post, I will examine the boundaries and debates surrounding documentaries and feature films, focusing on the film ‘Warang Sound’.

 

First Impressions and Genre Classification of ‘Warang Sound’

When I first saw the film ‘Warang Sound’, I naturally assumed it was a documentary. At the time, I think I had a deep-seated prejudice that documentaries and feature films were completely different genres. ‘Warang Sound’ is a film that follows the story of an elderly couple living in the countryside and their companion, a forty-year-old cow. Although it made history for Korean independent cinema by attracting approximately 1.36 million viewers within six weeks of its release, some raised controversies regarding direction and manipulation, arguing that the film strayed from the category of a traditional documentary. Therefore, it is necessary to take another look at this film.
Online genre classifications list it as a “documentary.” By definition, a documentary realistically depicts actual events as they unfold, without dramatic fiction. In other words, the hallmark of a documentary is capturing real situations or natural phenomena as they are, without using professional actors and excluding dramatic elements. Conversely, a feature film consists of fictional characters and events, employs various techniques to aid the audience’s understanding, and prioritizes the enjoyment of the viewing experience.
For this reason, some view ‘Warang Sound’ as a feature film. They argue that just as feature films borrow the format of documentary films to enhance realism, ‘Warang Sound’ also employs storytelling techniques familiar to audiences. However, I believe ‘Warang Sound’ is a work that originated from the intention to capture real-life situations. This is because the director’s approach does not equate to creating reality.

 

Directing Elements and Formal Debates

Some critics point out that this film differs from typical independent documentaries in both subject matter and style, noting its use of narrative techniques, dramatization, and reaction shots typical of feature films. Consequently, some in the independent film community and the general public argue that ‘Warang Sori’ is closer to a feature film than a documentary. From another perspective, it has been described as a “feature-film-like documentary.”
Audiences often react by saying the film “feels real.” Of course, many likely responded this way knowing full well that it is a documentary. This is precisely where the virtue and limitation of the documentary genre lie. It is also true that some critics argue the director’s stylistic choices in certain scenes are excessive. Some say the film would have been more understated without such direction. On the other hand, it’s also possible that thanks to that direction, more viewers found it comfortable to watch, leading to its box office success.
There are also reviews pointing out issues with the synchronization between audio editing and visuals. Some critics argue that the audio does not match the visuals and view this as a breach of the documentary’s promise. I do not fully understand this criticism. The documentary genre does not necessarily require audio and visuals to match perfectly at every moment. The judgment of what is permissible—between news or documentary editing practices and artistic editing—remains a point of contention between the audience and the filmmakers.

 

The Distinction Between Factuality and Authenticity

In my view, factuality and authenticity need to be distinguished. Factuality refers to an objective perspective—that is, the appearance of things as they are seen or the events themselves. Authenticity, on the other hand, is subjective yet persuasive and convincing; it is an attempt to reveal the “actual meaning” within, going beyond what is merely visible.
“Warang Sori” sought to capture emotional authenticity in the relationship between a grandfather and an old ox. The English title on the poster, “Old Partner,” likely stems from this same context. Director Lee Chung-ryul aimed to portray the friendship and daily life of these two beings, and the directing and editing choices he made in the process were methods intended to emphasize this authenticity.
The work of a documentary director bears a resemblance to the way a photographer uses a camera to capture landscapes or people. The camera frame frames reality. The moment a director selects and arranges a scene, observation becomes interpretation. Although the director does not create the actual subjects, an inevitable subjectivity intervenes in the reality shown through the frame.

 

The Necessity and Ethical Issues of Staged Documentaries

Some argue that intentional staging is unnecessary in documentaries. They insist that “things should be shown as they are.” However, if a documentary were composed solely of footage without any staging, the story conveyed to the audience could be very meager. For example, it is not easy to produce a meaningful documentary simply by leaving a camera in an ordinary household to capture daily life under the theme of “family.” Reality always works against documentary production—whether it’s the time it takes for subjects to adjust to the camera or the unpredictability of key events.
While adding direction to a documentary can sometimes create a richer narrative, it can also lead to side effects and ethical issues. As seen in the case of animal documentaries, there have been allegations that production teams manipulated situations or even deliberately put animals in danger to achieve high viewership ratings. Such controversies demonstrate just how crucial transparency regarding production intent and process is.
I believe it is natural—and sometimes necessary—for documentaries to incorporate some elements of dramatic film. It is more realistic to recognize that the two genres are not entirely separate but deeply intertwined. However, what matters is the director’s self-examination regarding the extent of their intervention and whether that intervention has obscured the truth.

 

The Emotional and Narrative Structure of “The Sound of the Bell” and Audience Reception

The recurring resonance of the bell throughout the film, as well as the sounds of birds and insects supplemented in the recording studio rather than captured on location, are clearly intentional compositional choices by the director. Narrative direction through sound, imagery, and editing is evident throughout. These elements transformed the documentary from a simple on-site record into a narrative documentary.
The director’s editing choices help the audience immerse themselves in the story. Editing where the characters’ dialogue and the visuals do not align perfectly can be seen not as a clever trick but as the result of a directorial choice. While it may sometimes feel excessive, it is difficult to argue that this choice completely obscures the story’s authenticity.
When consuming a movie or a book, audiences initially accept the fictionalized story as fact. It is often only after the screening ends that they realize it is a staged production. Even in fabricated stories, we seek authenticity, and from that authenticity, we draw out various thoughts and emotions. Therefore, just because a documentary is directed in a cinematic style does not mean the audience must automatically perceive it as a lie.
In ‘Old Partner’, the old ox and the grandfather bear a striking resemblance to one another. The sight of these two beings struggling to walk evokes sympathy and convincingly demonstrates why they are inevitably “Old Partners.” The veterinarian’s diagnosis and the grandfather’s repeated exclamation of “It hurts” reveal the weight of communal bonds and emotion.

 

Conclusion: Genre Boundaries and the Director’s Responsibility

Ultimately, ‘Warang Sori’ is a work that unearths reality under the formal promise of being a documentary rooted in realism. At the same time, the director’s intent to convey authenticity through narrative choices and editing is evident throughout. I believe it is appropriate to define this film as a “documentary with the characteristics of a feature film.”
A documentary does not have to be completely unstaged at every moment to be a documentary. Narrative devices designed to capture the audience’s attention and evoke empathy are sometimes necessary. However, the extent of the director’s intervention and the degree to which that intervention respected facts and truth remain important points of discussion.
In an era where genre boundaries are blurring, audiences should form their own opinions after watching a film. Rather than basing all judgments solely on the “documentary” label, it would be more productive to approach the film by examining the balance between direction and authenticity. ‘Warang Sound’ is a work that actively sought that balance and is therefore well worth discussing.