The first Boss Ma’am film is a sixty-minute long Filipino drama directed by Iar Arondaing that first premiered at the U.P. Film Circle in 2024. Following a minimalist approach in regard to setting, the film is devoted to the core of the emotional tension, shifts in the balance of power and the characters themselves. Each narrative is a story within a story and while the setting is as broad as a single room (even a single scene drama) and the characters few, it resonates with every human that has encountered the rough edges of dignity and self-expression against raw power.
The seamless patter in Boss Ma’am that deserves criticism – and accolades – is the absence of ‘letting it breathe’ spaces in the film. An entire stretch of the movie may cover a single thinking pattern of one of the characters. This may be irksome for a section of the audience but those that possess the nous will witness the capture of a psychological duel with all the emotional nuances one woman in authority and another with a kachina in downward reality fight for every frame.
In the heart of the film boss maam, a professional setting is presented. The entire single action takes places in an office of a highly regarded and feared woman at the head of a strict superior role, while her assistant is the backbone of the office. Unlike her assistant, the superior demonstrates little to no emotional disposition towards her work. It is as though she lulls the stress and heat of a busy day in a tiny dome of a disciplined aura.
Yet change still hooks itself to the very moment the assistant, on the surface, compliant and docile, shifts the tone to a different one. Using intricate and calculated movements, she begins to disrupt the emotional order equilibrium of the relationship. Soon after, she begins to explain the various ways in which she has some hold on the boss, one in which the underlying information and or constructs that sustain the relationship between the boss and assistant change for the worse.
What follows after this is a stealth whisper and unspooling of the hierarchy, rather than a brash fight. Never lacking in clarity, the systems of power seem to shift which her influence, the assistant, exerts. It is a responsive and at the same time very gentle speech that the once very assertive and untroubled boss now has.
Their relationship is one which is thick in layers and layers of unsaid details. Subtle shifts in the gaze that is longer than needed, pauses that become overly dramatic and even the littlest movements go a long way. It is left up to the audience to glean the very essence and superficial outlines that are provided in the film, the film does not provide any ‘correct’ perspectives concerning the subject matter.
In all the scenes, her posture is still extremely professional, she still struggles to control her body and stick to the instructions provided, she still tries to supervise the entire office all while keeping her very visible discomfort concealed. To her assistant, in direct contrast, appears to be at ease and fully clutching the shifts in balance.
The tranquil ending of the film leaves much to the viewer’s imagination, reflecting on the human bond, not only on the assigned roles but also on emotional impact, self-assurance, and unsaid things.
Cast and Crew
In any scene, the assistant played by Jenn Rosa, delivers a soft-headstrong impact. The character, who captures the viewer’s attention without a single yell, is able to achieve this because of her vocal power consummated performance.
The silence, embraced character of the boss who is played by Vern Kaye, is dominated by the ruthless, powerful, and composed woman—until that gentleness begins to fracture. Her performance is intentional, but the emotional articulation is lush, especially during the deep silence.
With a few of his character-driven stories, Aerol Carmelo plays a minor role that complements the office to create a shadow that doesn’t dominate the central dispute.
The director of the film, Iar Arondaing, is admired for simplistic storytelling and character building. He corpus the experience, enveloping the audience in emotion of the film while ensuring the backdrop is uncomplicated so they attendees can remain locked in to the thoughts and feelings of the film’s characters.
Themes and Symbolism
The film, upon first look, might seem simplistic, however, it delves deeply into a number of pertinent themes:
- Power and Control
The film depicts several types of power. In Boss Ma’am, it is not a power associated with a title, rank or even a position that is being described, but that which may be held psychologically and emotionally by one person over another. The power that the assistant wields, in this case, is not formal, and has, dominantly, quiet attributes. She is able to emotionally, psychologically and intuitively gain inner control over the boss through power observation, mastery, and inner tenacity.
- The Absence of Speech
The Dialog in the film is, in many cases, accomplished without the use of speech. The People in the film communicate by means of looks, posture, absence of speech, and pauses. A more accurate understanding: People frequently communicate more by what they do not say than by what they say.
- Professional vs Personal Boundaries
The film is set in the office, which puts the story in a more complicated context. The People in the film have to act in a particular way within the context of the scene, and do not have the liberty to break character, or do anything that does not uphold the role of a professional. However, the emotional undercurrents that do exist in the film seem to tie the experiences more than the professional boundaries.
Based on the text, provide a synopsis of the film. Give a brief summary of the film, while also including the moral of the story. The moral of the story is to never underestimate a woman’s capability, as they are equally as competent, and, if not more so, than men.
- Emotional Restraint
Boss Ma’am contains zero violent screams, aggressive fights, or grand emotive gestures. Everything is within and is done with purpose and is tranquil. This self-control supports the film’s authenticity and realism. Like life, tension rarely expresses itself with sound.
Cinematic Style
The film is visually and textually minimalistic. The interior set appears to be only a few rooms in an office. The illumination appears uncontrived and soft, suggesting an underlying tension that is present in the narrative.
The camerawork is personal. More than the usual, the camera focuses on the images which enables the viewer to experience the discomfort or curiosity that the characters are in. This technique makes it feel as if the viewer is in the room with the two women and is hearing the conversation without participating.
In contrast to the sounds that the clock makes, the computer, and the papers, music is barely noticeable. This serves to enhance the emotional tension.
Audeince Appreciation
While more concise than others issued, Boss Ma’am is considered enjoyable viewing for those fond of character studies. Especially those who have witnessed the imbalances of power in a workplace, friendship, familial, or similar settings. This film, in all its pondering in retrospect, does not take the easy way out.
For the audience, the immersion comes from the actors conveying the story with a significant lack of movement, complemented by the unforced direction centered around the story itself.
Conclusion
In essence, Boss Ma’am is an emotionally astute film, describing the depth of inner contemplation through the stregth in the technique of showing, not telling. More specifically, the film urges viewers to look past the words, the other half of the tension that exists within the silence, unmarked by words that emphasize the change of power and the submission to it.
In a little more than an hour, the film encapsulates the battle of the will of two people who have an unbroken flow of trust and understanding. Although, instead of the climaxes that are often found in films, there are moments of deep truth and silence that are courageous.
For the audience more specifically, it does not take long to lose oneself in the impressive character studies and the depth of the film. Boss Ma’am comes to the viewer with reservations, for it is best to ponder and formulate one’s own perceptions of it after the credits have rolled.
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