Creation of a documentary always needs verifiable facts, which in turn become the foundation for all descriptions and fictions. That is, a documentary, centered on facts, tells a story from various angles and points of view. Accordingly, 'facts' are the borderline of creation. Directors of documentaries show their own perceptions, thoughts and emotions together while recording the past stories of special figures. In doing so, they express their subjective thoughts outwardly through real lives, during which metaphors, reenactments, and reconstructions serve as the means. The creation process of a documentary film involves a mix of subjective elements as such and artistic skills, enabling unique and characteristic expressions, creative development, and profound research as well. This also implies that a documentary, weaving between records and art, has the potential and indeed a requirement to turn into a fiction centered on facts. Previous research on the existing fiction discourse of documentaries has laid the theoretical foundation for the development of documentaries. In step with the evolution of postmodernism, it has almost become a possibility as well as a path to explore documentary creation activities. This study conducts a broad analysis of documentary films, from their fictional traits, subjective expressions implicit in creation intention, to the limits emerging in relation to the production process and creative reconstruction. By doing so, the authors hope to suggest proper directions for ceaseless documentary conception and creation.