Kiss of the Spider Woman (2025)

Life in an Argentine prison during the country’s infamous Dirty War might seem like an odd backdrop for a movie musical. But, given the engaging source material on which this film is based – the 1992 Tony Award-winning hit Broadway musical featuring the compositions of John Kander and Fred Ebb (best known for their work on Cabaret) and the acclaimed 1976 novel by author Manuel Puig – this exuberant, visually involving new release succeeds in telling a captivating tale of unlikely friendship and romance between two very different cellmates during a troubled time in the Latin American nation’s history. At first glance, impassioned but perpetually embittered political dissident Valentin Arregui (Diego Luna) seems like the last person who would befriend someone like Luis Molina (Tonatiuh), a shallow, flamboyant gay window dresser who has been sentenced to eight years behind bars for corrupting a minor. Valentin is compulsively committed to his cause as if it were an inescapable crusade. However, thanks to Molina’s irrepressible wit and charm, he manages to win over his relentlessly serious cellmate. He accomplishes this through his gift for articulate, mesmerizing storytelling, specifically his intricate account of a classic 1950s B-movie musical called “Kiss of the Spider Woman.” Luis cheerfully recounts the film in an apparently sincere attempt to help Valentin forget his troubles. This movie within a movie is thus brought to life through vivid re-creations of Molina’s meticulously detailed descriptions of this campy melodrama, one whose plot in some ways parallels aspects of the real world storyline of the two prisoners. It tells the tale of a love triangle of sorts involving two men (Luna and Tonatiuh in dual roles) vying for the affections of a sophisticated but lovelorn heroine (Jennifer Lopez) while they simultaneously fend off the diabolical advances of a vampish supernatural villain, the Spider Woman (also portrayed by Lopez). Luis spins a compelling yarn that gradually wins over Valentin’s attention, stirring unexpected feelings of warmth, affection and sensitivity within him for the enchanting storyteller. But there’s a catch – Luis is secretly acting as an informant at the behest of the prison’s warden (Bruno Bichir). By spying on Valentin, Luis clandestinely seeks to gain his cellmate’s trust in hopes that he’ll reveal valuable information about his political contacts, an outcome that comes with the possibility of parole if he succeeds. However, to complicate matters further, Luis becomes torn about his mission when he starts developing feelings for the man he’s setting up to betray (talk about a tangled web). In telling this layered story of love, deceit, guilt and conflicted sensibilities, director Bill Condon has skillfully woven together two vastly different plotlines, presenting both with equal, albeit divergent degrees of cinematic polish. This is especially apparent in the picture’s outstanding production numbers, whose stellar renditions of its award-winning (though arguably underrated) Broadway score and impressive, inventive choreography unfold in the midst of a vibrantly hued production design characterized by exquisite sets and elegant costumes. These elements thus combine to make for a fitting homage to the grand and glorious movie musicals of days gone by. Then there are the fine performances of the three principals, most notably Lopez, who shows off a range of skills in an award-worthy portrayal that will undoubtedly leave viewers stunned and wondering where she’s been hiding her many talents all these years. While the development of the relationship between the two male leads could admittedly be stronger and the gravity of the prison narrative could have received much-deserved weightier treatment – aspects that were more fully developed in the original 1985 dramatic screen adaptation of this work – it’s important to remember that this film and its predecessor present very different takes on essentially the same story: one that intentionally plays up the gravely solemn nature of the original source material and one that re-creates the more heartfelt, romance-driven approach of the Broadway show. In essence, those expecting a present-day remake of the original might be disappointed. Indeed, given these differences, one might be tempted to look upon this new version as a comparatively lightweight rendering of the story, one that some cinephiles might even see as trivializing the nature of its backdrop. To be sure, one might thus wonder how such serious material can be effectively addressed through a musical, a vehicle that could conceivably be easily dismissed. But one might also want to think twice before expressing such a sentiment; after all, no one would dare raise a criticism like that about other acclaimed films in this vein (such as “Les Misérables” (2012), for example), so how fair would a remark like that be in this case? Bear that in mind if such notions come to mind while screening this film. All things considered, “Kiss of the Spider Woman” is an unexpected cinematic treat, one that’s moving, entertaining, thoughtful and visually dazzling all at the same time, a fusion of attributes that too few films successfully combine these days. And, coming from someone who generally doesn’t care much for movie musicals, that truly speaks volumes.