By Gary M. Kramer –
Out gay Writer/Director Bill Condon’s film version of the Tony-winning musical, Kiss of the Spider Woman, opening October 10 in theaters, has moments of seduction and is at times is spellbinding—most notably in the scenes between cellmates Luis Molina (out gay Tonatiuh) and Valentin (Diego Luna). The story, based on the late, great, gay Argentine writer Manuel Puig’s book, shares the same DNA as the Oscar-winning 1985 film, but is very much its own version, with changes that enhance this tale of isolation and liberation, and a few distracting elements.
One positive update from the previous film is specifying that the action takes place in an Argentine prison in 1983, during the country’s Dirty War. This political context is powerful, especially in the final sequence. As the film begins, Molina, who has been sentenced to 8 years for public indecency, enters the jail cell of a political prisoner, Valentin. (In the musical, Valentin enters Molina’s cell; in the film, they are already cellmates.) Whereas Molina is chatty, and wants to talk, Valentin is more interested in silence; he reads a biography of Lenin to pass the time. These very different men eventually come to develop a close bond as Molina recounts his favorite movie, Kiss of the Spider Woman, to Valentin.
The film-within-the-film is meant to be pure escapism. Whereas the original film featured a Nazi propaganda movie, this Kiss showcases a technicolor musical featuring Ingrid Luna (Jennifer Lopez) as Aurora, a woman caught in a web of love and betrayal. Her story mirrors what is happening in the jail cell, which is less subtle and arguably more effective. The male actors, Tonatiuh and Luna, both play double roles as Aurora’s executive assistant and lover, respectively, in the vivid color scenes.
The stylishly executed musical numbers, however, lack a wow factor. The music by John Kander, with lyrics by Fred Ebb, doesn’t really have any showstopping highlights. But it may also be because Condon stages many of the big production numbers in a theatrical way. This approach might have worked well on stage, where there is limited space, but here they feel stagey, like a high-energy performance at the Oscar telecast.
That said, there are a few fabulous dance sequences, and Jennifer Lopez has the pipes for her two parts—Aurora and the titular Spider Woman—but she is best when she shuts up and sings. Her scenes of spoken dialogue are disappointingly flat. And while her costumes can be gorgeous, her appearance can sometimes seem too artificial.
Kiss of the Spider Woman is best when Molina and Valentin confide in each other about their dreams and fears or discuss gender roles and what it means to be “macho” or “a man” or “a woman.” Valentin is less concerned that Molina is a homosexual—though he does berate him at times—and more upset that Molina allows himself to be humiliated. Molina, however, knows himself and seems to have a realistic perspective on his life, but he comes to appreciate Valentin’s integrity.
It is revealed early on in the film that Molina is being asked by the warden (Bruno Bichir) to get Valentin to talk and disclose his revolutionary contacts. That creates dramatic tension as Molina struggles to get Valentin to open up, but Molina also protects Valentin, who is beaten up in their cell and tortured by the guards.
The film emphasizes how these two cellmates transform each other. It is not just that Molina is kind to Valentin in the hope of getting him to divulge the information the warden wants; it is how both men appeal to the other’s dignity. Molina is incredibly tender towards his cellmate, cleaning Valentine up after he soils himself having eaten poisoned food, or sharing some groceries the warden procured for them. There is a very tender scene of Molina washing Valentin’s scarred back that is more intimate than them sharing a bed one night. Kiss of the Spider Woman also shows how Valentin politicizes Molina, getting him to care about things other than movies. The love and respect they develop form the backbone of the film.
But this is why the musical sequences are less engaging despite some moments of razzle dazzle. Having Aurora sing “Gimme Love” is not nearly as poignant as Molina asking Valentin for a kiss. And a pas de deux the two men perform—with Molina in a dress—is more exciting than the
Spider Woman poised to kiss and kill. It may be that Jennifer Lopez is just trying too hard at times, but, as good as she can be, she never generates the emotion that Molina has for her character.
Tonatiuh is very impressive in both his singing and speaking roles. He captures Molina’s complexity well as he falls for—and is inspired by—Valentin and his idealism. And he is also charming as Kendall in the fictional film. His number, “She’s a Woman,” is a musical highlight. Likewise, Diego Luna is superb as a prisoner who refuses to capitulate to the authorities. Valentin delivers a speech about his sister that is quite moving.
Even with all its strengths, an episode depicting Molina’s crush on a waiter, Gabriel (Augusto Gordillo), which was more detailed in the previous film, feels superfluous here, and the ending feels rushed even though it remains impactful.
Perhaps the film’s split personality can be likened to how Molina wants entertainment and getting lost in the emotions of the story he recounts, while Valentin is a realist who wants to know what happens next. Kiss of the Spider Woman is both enjoyable and dramatic. It does not always generate big emotions, but it is mostly diverting.
© 2025 Gary M. Kramer
Gary M. Kramer is the author of “Independent Queer Cinema: Reviews and Interviews,” and the co-editor of “Directory of World Cinema: Argentina.” He teaches Short Attention Span Cinema at the Bryn Mawr Film Institute and is the moderator for Cinema Salon, a weekly film discussion group. Follow him on X @garymkramer
Film
Published on October 9, 2025
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