In this blog post, I will examine how documentary elements and feature film formats intersect, using director Jia Zhangke’s film ‘Xiao Wu’ as a case study.
Film Overview and Synopsis
The film ‘Xiao Wu’ follows the protagonist, Xiao Wu, a pickpocket, as he scrapes by in the city. While the police proclaim a “war on crime” and emphasize law-abiding behavior, this message rings hollow to citizens, and Xiao Wu continues his pickpocketing with no clear alternative. One day, while visiting a friend’s shop by chance, he hears news of his old colleague Xiao Ning’s wedding. Now a successful young businessman, Xiao Ning fears that Xiao Wu’s past might be exposed, so he neither invites him nor accepts his wedding gift.
Xiaoning is a man who made a fortune through the smuggling of cigarettes and alcohol; his wealth is not legitimate. In terms of social standing, major criminals like Xiaoning are treated with respect, while petty thieves like Somu are objects of scorn and contempt. This contrast reveals the materialism and corrupt social structures that emerge during the process of economic growth.
Set against the backdrop of the shock and moral confusion in Chinese society during its rapid transition from a state-controlled economy to a capitalist market economy, ‘Xiao Wu’ realistically portrays the lives of the underprivileged navigating these turbulent times.
Directing Style and Documentary Elements
Jia Zhangke casts non-professional actors instead of professionals and primarily uses a stationary camera to honestly capture Xiao Wu’s anxious expressions as he finds himself at the center of these changes. Rather than over-dramatizing emotions, he quietly presents everyday movements and crowds through an observer’s gaze, creating a strong sense of realism without emotional outbursts.
In particular, the final scene—where people gaze at Xiao Mu, left alone in the middle of the street in handcuffs, and the view of the crowd seen through Xiao Mu’s eyes—conveys a powerful dramatic message. By maintaining a calm and detached gaze toward things that are forgotten and discarded, the film prompts the audience to reflect on their own lives and social positions.
Scenes featuring props that have become relics of a bygone era, such as pagers, go beyond simply establishing a historical backdrop; they urge us to reflect on the things we have overlooked and discarded as we grew up. These small details further solidify the sense of reality the film seeks to convey.
The Boundaries and Intentions of Documentary and Fiction Film
Jia Zhangke does not present a clear argument or a propagandistic message in the film. Instead, he presents Xiao Mu’s life without embellishment, allowing the audience to form their own judgments. Rather than exaggerating the characters’ conflicts, the camera observes their ordinary movements and meticulously captures Xiao Mu’s expressions. This direction encourages the audience to view China from Xiao Mu’s perspective while simultaneously observing Xiao Mu through the lens of Chinese society.
I believe documentaries serve two primary functions. One is the documentary nature of the images and sounds, and the other is the function of interpreting those records. Because documentaries strive to address their subject matter accurately, they are unlikely to take on a propagandistic character. In contrast, fictional feature films can produce a strong propaganda effect through recurring assumptions and mythical elements.
The appeal of fictional works lies in their ability to reconstruct a reality full of contradictions into a story free of contradictions. The world depicted in documentaries may appear chaotic, dirty, and at times meaningless, but it is precisely this authenticity that resonates deeply with the audience. On the other hand, people also find solace in the fictional refuge of feature films or dramas.
Authentic documentary filmmakers pour their passion into the facts they uncover. Unlike fiction writers, who are born to create, documentary filmmakers place greater importance on conveying the reality they have discovered. However, if creative ability is completely excluded, documentaries run up against the limits of expression.
As a result, some filmmakers switch from documentaries to feature films to get closer to the truth, while others move from feature films to documentaries to leverage the persuasive power of fiction. The plausibility of documentaries—that is, their ability to present reality in a convincing manner—is precisely what defines and makes this genre so compelling.
Insights and Personal Reflections from the Course
I am no expert on documentaries, but the documentaries and related videos I frequently encounter on TV have often provided me with profound insights. In that regard, the documentary course I took this semester was extremely beneficial. It was also very helpful from the perspective of acting, and exposure to diverse subjects and modes of expression gave me the opportunity to create and explore on my own.
Compared to friends who have studied feature films more extensively, my understanding may be limited and my knowledge of famous directors lacking, but the appeal of the documentary genre has resonated with me. Through this assignment, I realized anew that documentaries and feature films are closely intertwined. I also confirmed that the structural elements we learned in class—setting, characters, and events—are the core of any story, whether in a feature film or a documentary.
In feature films, there are times when the actors’ performances seem to flow naturally; this is connected to a directing style inspired by a documentary-like observational approach. Even if the content of a feature film is fictional, the naturalness of the acting and its closeness to reality are greatly influenced by a documentary sensibility.
In conclusion, ‘Somu’ is a film that borrows the form of a narrative film while gazing at reality with a documentary-like attitude. I hope to continue learning more through this course and to explore the subtle boundary between documentary and narrative film in greater depth.
