Film Name: 老板的女人
This film feels like it was made by a bunch of wounded old men—and that’s probably exactly what it is. With its bleak work environment and painful romantic entanglements, is Jiaokeli trying to concentrate all the animator’s wounds into this one movie?
The film’s perspective is undeniably from the cramped office outside the boss’s absurdly lavish suite. Viewers instinctively place themselves in the employees’ shoes, viewing their colleagues through an equal yet competitive lens—fearful, envious, and yearning for what lies within the boss’s domain.
Yet the moral compass of the film rests squarely with BB, the greenhorn with hair sprouting from his head. Bullied by coworkers and utterly overlooked by management, he remains an outsider. His innocence, enthusiasm, and utter lack of self-awareness inject a rare “dissonance” into this office and its wounded old men. They will never be changed by BB, but his immaturity and simplicity allow them to indulge their ‘maturity’ and “complexity” without restraint—after all, the film’s moral baseline is held up by this kid. This explains why the trio, after seemingly playing the righteous heroes rescuing a damsel in distress, immediately plunges into a new round of “evil” infighting. In such an environment, I can’t help but wonder if BB can truly maintain his innocence.
The film walks a tightrope between exaggerating workplace sexual tensions and preserving basic moral integrity. It hooks viewers with its eroticism while maintaining a semblance of justice to prevent moral collapse. Several times, the film teeters on the edge of moral boundaries before pulling back, leaving me feeling somewhat uneasy. This constant tension of moral challenge even somewhat dilutes the appeal of the film’s deliberately crafted comedic gimmicks.
Take the violent cleaning lady, for instance, who acts as a righteous enforcer. The employees’ lust manifests in their destruction of hallway cleanliness, prompting the lady to administer harsh punishment—promptly disposing of these trash-makers. Yet her enforcement grows excessively violent, challenging my moral boundaries. This brutality somewhat dilutes the comedic effect of her scene with the boss. Watching her jab the boss’s groin with a spiked ball left me with a feeling of wanting to laugh but unable to.
JiaoKeli Studio gained fame in China’s animation scene years ago with “See Through,” yet has been relatively quiet in recent years. “See Through” essentially served as a technical experiment for the studio, failing to establish a cultural identity. In other words, JiaoKeli has built a technical brand, but its cultural branding remains far from complete. “The Boss’s Woman” clearly transcends mere technical experimentation, marking an exploration of cultural identity—specifically, “What kind of animation does Jiaokeli truly want to create?” It’s slightly disappointing to see the ‘erotic’ theme emerge. With over 3 million views, this film is undoubtedly a commercial success. Yet, no matter how I interpret its creative intent, I can only see the phrase “held hostage by the market.”
The commercial transformation of art studios warrants deep reflection. Whether “The Boss’s Woman” represents a step forward on Jiaokeli’s ideal path can only be judged by observing its subsequent brand development. For instance, will it continue exploring erotic themes, or reduce such content to focus on BB, other employees, and the boss’s office life?
The most successful character in this film is undoubtedly the boss. Every gesture, glance, and tone perfectly captures his lecherous nature. However, this character lacks the potential for spin-offs because he possesses no redeeming qualities. BB Boy holds genuine potential for spin-offs, yet his screen time in this film alone seems insufficient to sustain commercial expansion. While the other characters possess distinct personalities, they remain underdeveloped in comparison—their unique charms remain unexplored, rendering them unsuitable for spin-offs. These aspects require careful consideration and enrichment in future projects.
In summary, as a follower and supporter of Jiao Keli, I hope his films can achieve high viewership while delivering more culturally enriching content—moving beyond the lowbrow appeal dominated by mere eroticism and violence.
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