Valentín, a political prisoner, shares a cell with Molina, a window dresser convicted of public indecency. The two form an unlikely bond as Molina recounts the plot of a Hollywood musical starring...
Bill Condon swings for the fences with “Kiss of the Spider Woman,” a bold, colorful mix of political drama and movie musical. It’s ambitious, heartfelt, and often stunning to look at, but also very messy. The film’s constant back-and-forth between gritty realism and Technicolor fantasy doesn’t always land, and the lead performances and songs just aren’t strong enough to hold it all together.
Set in early 80s Argentina during the Dirty War, the story follows Valentín (Diego Luna), a revolutionary locked up for his politics, and Molina (Tonatiuh Elizarraraz), a gender-nonconforming window dresser serving time for “public indecency.” Stuck together in a tiny prison cell, they form an unlikely friendship (and eventually something deeper) as Molina recounts the plot of a favorite old Hollywood musical starring silver screen icon Ingrid Luna (Jennifer Lopez).
Condon visualizes Molina’s daydreams as big, colorful musical sequences that are bursting with light, glitter, and fantasy, which is a stark contrast to the bleakness of prison life. It’s a relatively pedestrian idea that captures how imagination and art can be an escape, but the execution doesn’t quite get there. The songs are serviceable but forgettable, which is a big problem for a movie that leans so heavily on them.
Lopez certainly looks the part and does a fine job as the glamorous movie star within Molina’s imagination, but her material doesn’t give her much to work with beyond a surface level sparkle. She’s talented, but it’s definitely not an awards-worthy role. The real emotional power of the film comes from Elizarraraz and Luna. They’re both terrifically understated, honest, and totally believable. Elizarraraz brings so much heart and vulnerability to Molina that you immediately root for her, and Luna’s quiet intensity gives their relationship a grounded energy that works well.
The film digs into some heavy themes like gender identity, political repression, and love across divides, and it does so with empathy and care. The updated take on Molina’s gender feels modern and more nuanced than in earlier versions of the film and stage play, and the chemistry between the two leads makes their bond feel deeply human.
Where the movie stumbles is in pacing and tone. At over two hours, it feels far too long. The constant shifts between dark prison drama and glossy musical numbers can be irritating, but you can see what Condon’s going for even if the blend of fantasy and harsh reality doesn’t always mesh smoothly.
Although this version of “Kiss of the Spider Woman” isn’t a great film, there’s still a lot to admire. It’s beautiful to look at, emotionally rich, and full of big ideas about empathy, love, and survival. Even when it doesn’t completely work, you can tell everyone involved is giving it their all.
