이정준 감독의 <고래의 바다>는 지난 10여 년간 제주남방큰돌고래의 삶을 묵묵히 기록해온 ‘돌핀맨’의 집요한 작가 정신과 해양 생태계를 향한 깊은 통찰이 응축된 작품이다. 영화는 인간과 비인간 존재가 공유하는 공간인 ‘바다’를 대하는 우리의 태도를 근본적으로 성찰하게 한다는 점에 주목했다.

작품은 사라진 귀신고래의 흔적에서 시작하여 현재 제주 연안에 정착해 사는 돌고래들로 시선을 옮기며, 과거와 현재를 관통하는 생태적 연결 고리를 탐구한다. 특히 풍력심의위원회 장면에서 터져 나온 “사람이 먼저입니까, 돌고래가 먼저입니까?”라는 질문은 이 작품이 관객에게 던지는 핵심적인 화두다.

경제성과 개발 논리 앞에 놓인 차가운 바다의 현실을, 수면 아래 비행기 소음만큼이나 고통스러운 수중 소음 측정 데이터와 낚싯줄에 꼬리가 감긴 새끼 돌고래 ‘종달’의 위태로운 모습으로 시각화하며 문제의 본질을 날카롭게 파고든다.
종달 구조를 위해 직접 장비를 제작하며 고군분투하는 과정이나, 활동가들과의 교류를 통해 확장되는 세계관은 인간 중심적인 사고에서 벗어나 ‘공존’의 실천적 대안을 모색하게 한다.

드론과 수중 촬영을 활용한 다양하고 안정적인 영상미는 제주 바다와 돌고래의 생태를 잘 포착한다. 태풍 후 검은 먹물을 뿜어내며 사투를 벌이는 오징어 사냥 장면이나, 턱이 파손된 ‘턱이’와 어구에 상처 입은 돌고래들이 오염된 양식장 인근을 맴도는 모습은 심미적인 영상미 이면에 숨겨진 생존의 처절함도 담아냈다. 이는 관찰자의 시선을 넘어 고래의 고통에 깊이 공감하며 만들어낸 영화적 힘이기도 하다.

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Director Lee Jung-jun’s <Sea of Whales> distills more than a decade of patient observation, unwavering dedication, and profound ecological insight. Long known as the “Dolphin Man” for his commitment to documenting the lives of Jeju’s Indo-Pacific bottlenose dolphins, Lee crafts a film that compels us to fundamentally reconsider our relationship with the sea—a space shared by both human and non-human beings.

The film begins with the traces of the vanished gray whale and gradually shifts its gaze toward the dolphins that now inhabit the waters off Jeju, exploring ecological connections that bridge past and present. At the heart of the film lies a question raised during a wind power review committee meeting: “Who should come first—people or dolphins?” This deceptively simple question becomes the central challenge the film poses to its audience.

Confronting the harsh realities created by economic interests and development-driven logic, the documentary reveals the hidden costs borne by marine life. Underwater noise data—showing sound levels as distressing to dolphins as aircraft noise is to humans—and the heartbreaking image of a young dolphin named Jongdari struggling with fishing line tangled around its tail expose the true nature of these conflicts. Through such moments, the film cuts directly to the core of the issue.

The narrative gains further depth through the director’s tireless efforts to rescue Jongdari, including designing specialized equipment himself, and through his collaborations with fellow activists and conservationists. These experiences expand the film’s perspective beyond a human-centered worldview, encouraging viewers to imagine practical pathways toward coexistence.

Visually, <Sea of Whales> is both striking and immersive. Combining aerial drone cinematography with intimate underwater footage, the film captures the beauty and complexity of Jeju’s marine ecosystem. Memorable sequences include the dramatic hunt for squid releasing clouds of black ink in the aftermath of a typhoon, as well as the haunting images of dolphins such as “Jawi,” whose jaw has been severely damaged, and others bearing wounds believed to have been caused by military torpedoes as they circle polluted fish farms. These scenes reveal not only the aesthetic beauty of the ocean but also the relentless struggle for survival hidden beneath its surface.

More than an act of observation, <Sea of Whales> is an expression of deep empathy. Its cinematic power emerges from a perspective that does not merely watch whales and dolphins, but seeks to understand and share in their suffering, transforming ecological inquiry into an urgent and profoundly human experience.

- Jiwook Jang