People tire of remakes, remasters, and re-imaginings, yet few probably expected Kiss of the Spider Woman to get another look-in. Manuel Puig’s original novel was a stream-of-consciousness affair that references all sorts of classic Hollywood movies from 1943’s I Walked with a Zombie to 1982’s Cat People. Puig turned it into a play in 1983, and Héctor Barbenco (Pixote 1980, Candiru 2003) adapted it into a movie in 1985, which earned the late William Hurt (Broadcast News 1987, A History of Violence 2005) an Academy Award.
With that in mind, 2025’s iteration of Kiss of the Spider Woman, set for release in theaters on October 10, 2025, through Roadside Attractions, uses the 1993 Broadway musical as a basis. Adapted to the stage by Terrence McNally (The Ritz 1976, Frankie and Johnny 1991), it has Luis Alberto Molina (Tonatiuh: Vida series, Carry-On 2024), imprisoned for “public indecency,” uses one movie to dissociate from the brutality of the Argentine Junta’s jails- the titular Kiss of the Spider Woman starring Ingrid Luna (Jennifer Lopez: Out of Sight 1998, Maid in Manhattan 2002). Where a socialite cursed from birth avoids attachment, lest she lose her love to the Spider Woman (also Lopez) and her deadly kiss.
He joins the hardened revolutionary Valentin Arregui (Diego Luna: Y tu Mama Tambien 2001, Rogue One 2016) in his cell, where he shares his vivid recollections of the movie to help pass the time. What Valentin does not know is that Molina is being used as a spy to extract information from him in return for parole. But as time goes on, Molina begins to have his doubts about snitching, and his memories of the movie begin to reflect reality. Will he sell out his new friend, give up his freedom for him, or stay in his technicolor dreams?
It is easy to be skeptical of this venture. The original novel was an artsy affair where Puig psychoanalyzed homosexuality. At the same time, the 1985 movie was a critical darling that moved things to Brazil and featured Hurt and Raul Julia (Presumed Innocent 1990). Directed by Bill Condon (Gods and Monsters 1998, Dreamgirls 2006), and had the executive producer forces of Matt Damon (Good Will Hunting 1997), Ben Affleck (The Sum of All Fears 2003), and stars Diego Luna and Jennifer Lopez, among others.
In any event, is 2025’s Kiss of the Spider Woman any good? Does it still have that introspective approach to go with the musical numbers? And are the songs worth hearing? The film certainly succeeds at contrasting the whimsy of Molina’s classic Hollywood dreams with the jail. The former is bold and rich with warm colors, while the latter is desaturated, dirty, and grey. The jail feels like a boxed-in real location, while the movie-within-a-movie takes place on a variety of sets and stages.
The characters contrast with each other, as the actors play dual roles. In the real world, Tonatiuh and Luna are prisoners on their own. In Molina’s fantasy, Luna is Ingrid Luna’s love interest, Armando, while Lopez is both the rich girl Aurora and the ominous Spider Woman, and Tonatiuh is Aurora’s closeted queer friend Randall. Both imitate each other, as Armando’s plight mirrors Valentin’s in wronging the authorities, and both Randall and Tonatiuh are caught in moral conundrums while wishing they were in Aurora’s heels.
The book began with Puig using Molina as a way to portray the role of a ‘romantic female,’ and it carries over here. Molina identifies as a gay man, yet he does wish he could use feminine accoutrements freely like Ingrid’s starring roles. The homophobic abuse he suffers softens from slurs to pointed comments on his effeminacy. It could take it as a trans narrative. Particularly when Molina sums up Ingrid’s appeal to himself and Valentin, and its bittersweet finale, the narrative becomes more poignant.
Then again, since Molina does not go that far himself in the story, it could simply represent his wish to live like his idols without being treated like a subhuman. Even before the two know each other, Valentin sticks up for Molina because “You’re not a monster, you’re a man.” It helps that Tonatiuh’s performance of Molina is stellar, as the character is personable, engaging, funny at times, and emotional. He really gives it his all and thrives in the dramatic scenes, acting as the heart of the performance.
Inversely, Lopez rules the roost when it comes to the singing and dancing numbers. Tonatiuh gets a few tunes that hit sweet spots. Still, all the big hits on the soundtrack are carried by Lopez, from her tender tunes about her complicated romantic situation as Aurora, to her foreboding, deadly tracks as the Spider Woman, daring to give her kiss of death to whoever succumbs to their desires. It makes a change from 2022’s Marry Me.
By contrast, Luna ends up being the straight man to Tonatiuh and Lopez, figuratively and literally. He bounces off Tonatiuh’s Molina well with their contrasting characters and burgeoning relationship, his Valentin suffering multiple indignities that Molina helps him through. Yet he feels more like a walking and talking MacGuffin than a character in his own right, a device to tear Molina’s loyalties and test his heart. He does talk about other things, like his lover Marta (Josefina Scaglione: Camina al amor series, HairBrained 2013). However, she does not get much of a look-in beyond one neat, reality-bending musical number.
Overall, Kiss of the Spider Woman is a fascinating story, dramatically held up by Tonatiuh and musically by Lopez. It retains the introspective queer themes of the novel and play, and features some snazzy songs and dance routines along the way. Though it trades in the older materials’ gut punches for bittersweetness, it still offers plenty of food for thought and runs a good pace as it balances its drama and joyful moments well. In other words, Kiss of the Spider Woman is a worthwhile watch, with Cryptic Rock giving it 4 out of 5 stars.
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