Film Review: Kiss Of The Spider Woman
A Film Adaptation Of The Broadway Musical Of The Best Picture Nominated Film
INTRODUCTION
This is a quick review of the newly released film Kiss Of The Spider Woman. Please note that this is just one of the many movies I will have watched each year, and my initial grade for this film may change over time, for better or worse. To stay up to date on my thoughts about other movies and any potential changes in my opinion on this one, follow me on Letterboxd.
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PLOT
Via Letterboxd: 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 his favorite silver screen diva, Ingrid Luna.
REVIEW
In 1976, Manuel Puig published what many consider his greatest novel, Kiss of the Spider Woman. In 1985, a film adaptation starring Raúl Juliá and William Hurt hit theaters and was so acclaimed it earned a Best Picture nomination. Then in 1992, a musical version of the story opened on Broadway. Now, in 2025, that very musical has received its own film adaptation.
Directed by Bill Condon, this new Kiss of the Spider Woman stars Jennifer Lopez as screen siren Ingrid Luna, Diego Luna as Valentín, and Tonatiuh as Molina. It’s an interesting production; you’d expect a story with this pedigree, connected to a beloved novel, an Oscar-nominated film, and a hit Broadway musical, to get a major studio budget. Instead, it was independently produced and premiered at the Sundance Film Festival, where Lionsgate snapped it up.
That indie-tier budget does show in the cinematography and set pieces, but the production design compensates beautifully, giving the musical sequences a vivid, technicolor glow that genuinely evokes a fifties film. The costume design is equally impressive, especially during the dream sequences in which Valentín recounts Luna’s movies. These visual touches help the film transcend its limited budget in the same way Wicked’s craftsmanship elevates its mediocre cinematography.
The performances, though, are what truly keep the movie from stumbling. The script occasionally struggles with pacing, and some of the dialogue sounds more stagey than cinematic. Lopez is understandably the film’s biggest selling point, and she’s wonderful in the scenes she has, to the point where she could make my year-end ballot for Supporting Actress. Still, the heart of the film lies with Diego Luna and Tonatiuh, who bring warmth and emotional depth to their growing relationship. They also carry the musical fantasy sequences with conviction and grace.
The soundtrack itself is solid, with the cast performing the songs and choreography with real energy. However, the tunes themselves aren’t the most memorable or catchy, leaving the musical side of things more admirable than iconic.
Aside from condensing all of Luna’s films into one (as the 1985 film did), this version stays largely faithful to Puig’s source material - save for a more hopeful ending that ties into real-world events from 1983. It’s a thoughtful choice that gives this adaptation a slightly brighter note to end on. Fans of previous versions will likely appreciate this take, and perhaps even prefer it.
For me, it doesn’t quite reach the heights of the 1985 film and has a few rough edges I wish had been smoothed out. Still, it’s a respectable and heartfelt attempt at reimagining a classic story, one that balances theatrical flair with indie sensibility. I’d give Kiss of the Spider Woman’s musical film adaptation an initial strong B+, bordering on an A– for sheer enjoyment, even if it falls short of The Color Purple-level greatness among recent musical film remakes.
“TL;DR”
Pros: Great performances from the main three players in the cast; Great costumes and production design that bring you into the world of fifties technicolor films; Songs are all performed in dazzling displays that match the best musical numbers you can find in cinema
Cons: Pacing feels uneven compared to the previous film adaptation of this story; Dialogue feels a bit clunky and too Broadway-like in parts; As well performed as they are, the songs aren’t particularly memorable or catchy
GRADING
