Whether you’re a casual movie watcher or a passionate cinephile, chances are you have a film you hold dear that you watch when life begins to overwhelm you. Perhaps you’re healing from a heartbreak or grieving a loss. Or, maybe you’re just feeling a little lonely and want to wrap yourself in one of your favorite rewatchable gems. This feeling sets the stage for Bill Condon’s latest musical, Kiss of the Spider Woman. Anchored by a triumvirate of Latin talent — Jennifer Lopez, Diego Luna, and Tonatiuh — the film fuses sharp storytelling, tender emotion, and Old Hollywood magic that serves as an ode to cinematic escape.
The film takes place towards the end of the Dirty War in 1983 Argentina, where the government is in the midst of a campaign that imprisons political agitators. Valentín (Diego Luna; Andor) is a member of the resistance with information the government wants. Molina (Tonatiuh) is a window dresser imprisoned for his sexuality. Molina has been placed in a cell with Valentín as a mole, to share any information he receives in exchange for parole.
At first, Valentín is stony and rigid. Molina slowly chips away at Valentín’s hardened exterior through his love of film and favorite Hollywood starlet, Ingrid Luna (Jennifer Lopez). Molina recounts his favorite film, Kiss of the Spider Woman, but makes a few creative adjustments. The glamorous drama stars Ingrid Luna as Aurora, a woman trying to escape a mythical predator whose kiss brings death. Through Molina’s imagination, their confined prison quarters transform into a technicolor spectacle that not only provides moments of escape for both prisoners but also bridges the gaps between their differences to form a powerful and unexpected bond.
Writer and director Bill Condon is known for directing big, bold musical adaptations that immerse audiences in a place and time, like the Motown era in Dreamgirls or the 1920s jazz age in Chicago. It’s no surprise that the musical within the film oozes with the same glitz and glamour. The Academy Award winner directs magnetic musical numbers shot wide, where everyone has to be in top form because every inch of the set can be seen.
Production designer Scott Chambliss and set decorator Andrew Baseman created a wonderful juxtaposition between the dreary prison cell and the vibrant palette of the mythical South American country where we find Aurora. Our eyes scan the peeling paint of the cement walls; you can feel the coldness. When we’re transported to Aurora’s world, it takes a minute to adjust to the saturated spectrum. This adds to the comfort and escape that Molina finds in this story.
I spoke with Bill Condon about the choice in casting Jennifer Lopez. Condon said it was always going to be JLo. If she had said no, he would’ve had to wait a few months and ask again. In his mind, there was simply no one better to fill the role. The genius of casting Lopez as the Hollywood starlet Ingrid Luna is how it comments on her own career. Through the magical Aurora, she gets to channel her full artistry. And that’s what makes the performance so special. She’s not just playing an icon; she’s embracing her own legacy. You can feel her pure, radiant joy at having a role that finally matches her charisma and skill. It’s that sense of culmination that makes it unforgettable.
Equally as beautiful as the film within the film are the moments spent watching the relationship between Valentín and Molina evolve. Tonatiuh and Luna have a remarkable chemistry that slowly burns into a palpable romance by the end of the film. Tonatiuh’s Molina is fiery from the moment he meets Valentín. And though he tries to resist his charms, Valentín begins to warm to Molina. Tonatiuh delivers a deeply human performance. Molina appears strong, resolute in who he is and his place in the world. Yet there are moments where his armor cracks to reveal the fear within him. “I’m tired of suffering,” he delivers in a lip-quivering tone that will break your heart. Opposite of Tonatiuh is Luna, who is equally effective as a revolutionary fighting for causes bigger than himself. Luna weaves between sporting this machismo persona and quickly sinking into a tenderness to comfort Molina. Both characters, though fighting different battles, are in active rebellion against the government and societal norms.
Last year, Emilia Perez took the film world by storm for a variety of reasons. While there were things to like about the film, many viewers within the queer community found its representation to do more harm than good. The queer narrative in Kiss of the Spider Woman is handled with sensitivity and care.
Kiss of the Spider Woman is surprisingly timely. In America, we’re currently living in unprecedented times where democracy is under extreme threat. Each day, we’re witnessing illegal detention, increased violence, and the stripping of human rights. And while the risks and dangers are ever-present, we need moments of escape. We need movies that ignite our own imaginations and spark a bit of hope in us so that we can continue to make it through another day. We need those stories that allow us, if for but a moment, to breathe – stories you can see yourself in. This is one of the many reasons that films are so important. These tiny pieces of magic tether to our hearts and become something that can never be stripped away.
In addition to the gift of escape, there’s also the joy of passing on that magic to others. Molina blessed Valentín with the story of the Spider Woman. What was once Molina’s escape became a safe place for both of them – a gift that Valentín was able to give back to Molina as their situation worsened.
Bill Condon’s Kiss of the Spider Woman is a reminder of the escapism that movies bestow on us. It toggles between the sullen real world and a jewel-toned dream. Lopez delivers. Luna is in rare form. Tonatiuh stands out with a breakout performance that anchors the entire film. Set design, costume, hair and makeup, and sound all work together to make Kiss of the Spider Woman a breathtaking surprise with an impactful message that will stay with you long after the end credits roll.
Rating: 4.5 out of 5 stars
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