Kiss of the Spider Woman

by Mike McGranaghan

Hector Babenco’s 1985 Kiss of the Spider Woman is one of the first “art” movies I ever saw. Its frank depiction of a homosexual character was groundbreaking for the era, and highly enlightening for a teenager growing up in rural Pennsylvania, where the topic was considered taboo. I hope some smalltown adolescent will see Bill Condon’s new film adaptation – based on the Tony-winning musical – and have a similar reaction. Both versions generate a ton of empathy for the gay main character, and the actor playing him here gives the kind of breakout performance that commands attention.

Set in 1983 Argentina, the story begins with a gay man, Luis Molina (brilliantly played by the single-named Tonatiuh), being placed in a jail cell alongside revolutionary Valentin Arregui (Diego Luna). Their shared predicament is dire. Luis wants to get home to his ailing mother; Valentin yearns for his girlfriend Marta, as well as to get back on the front lines of the fight against the country’s military dictatorship. Conditions in the jail are grimy, to say the least.

As a distraction from their incarceration, Luis relates the plot of his favorite Hollywood musical to Valentin. It tells the tale of a glamorous fashion maven named Aurora who must find a way to save her true love from the clutches of a dastardly femme fatale. Jennifer Lopez plays Ingrid Luna, the actress portraying both heroine and villain. The men bond over the plot, creating a new problem since Luis’s freedom hinges on subtly extracting information from his cellmate to feed to the prison’s warden.

Condon, who previously helmed the screen versions of Chicago and Dreamgirls, very effectively draws a visual contrast between real life and cinematic fantasy. Scenes in the jail have a cold, gray look. Those involving Ingrid are lush and bursting with color. The approach perfectly sells the idea that her film provides mental escape for the prisoners.

The many musical numbers are inventively staged and carried out with magnificent execution. (Luna and Tonatiuh additionally play Ingrid’s co-stars.) If ever a part was tailor-made for Jennifer Lopez, this would be it. She gets to sing, dance, and act, all at the same time. You can literally feel the joy she’s experiencing from the role – a trait that makes the musical’s power over Luis and Valentin even more palpable. Lopez absolutely sizzles in the part.

Meaningful parallels exist between Aurora’s situation and what’s happening within the prison walls, giving Kiss of the Spider Woman a great deal of subtext. Valentin is, in effect, seduced by the passionate manner in which Luis tells of the film. Luna shows how his character gradually opens his heart, countering the homophobia of the prison staff by demonstrating compassion. His turn is very subtle and layered.

As fabulous as Luna and Lopez are, the movie belongs to Tonatiuh. He nails an entire range of complex emotions Luis feels, from fear to love, self-loathing to acceptance. He’s a heck of a singer, too. Through it all, he exhibits vulnerability that draws you in, breaking your heart at times. It will not be surprising if Tonatiuh receives recognition during the 2025 awards season.

Kiss of the Spider Woman has one factor that prevents it from being a top-tier adaptation. As writer and director, Condon never figures out how to make Aurora’s story as compelling as the main story. Her scenes are fun, thanks to Lopez and the strong choreography. They just don’t have the same dramatic thrust. Don’t let that deter you, though. Multiple exemplary qualities make this a picture to see.

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