SHADOWS ON THE WALL | REVIEWS | NEWS | FESTIVAL | AWARDS | Q&A | ABOUT | TALKBACK | |||||
Kiss of the Spider Woman
Review by Rich Cline |
| |||||
![]() dir-scr Bill Condon prd Barry Josephson, Tom Kirdahy, Greg Yolen with Diego Luna, Tonatiuh, Jennifer Lopez, Bruno Bichir, Josefina Scaglione, Aline Mayagoitia, Driton 'Tony' Dovolani, Lucila Gandolfo, Federico Repetto, Lucas Barreiro, Fabio Aste, Graciela Daniele release US 10.Oct.25 25/US 2h08 ![]() ![]() ![]() SUNDANCE FILM FEST Is it streaming? |
![]() This musical adaptation of Manuel Puig's 1976 novel uses camp flourishes to strikingly contrast a gritty prison cell with a glamorous movie fantasy. And songs by John Kander and Fred Ebb (see Cabaret and Chicago) give Jennifer Lopez the chance to sing and dance up a properly show-stopping storm. Writer-director Bill Condon strains a bit to balance the tone, but the big emotions and dark undercurrents are powerful. In 1983 Argentina, political prisoner Valentin (Luna) is joined in his grubby cell by the far-too-chatty Molina (Tonatiuh), who imaginatively recounts the plot of his favourite melodramatic Hollywood musical. This explodes in bright-hued cutaways starring the diva La Luna (Lopez), who plays both protagonist Aurora and the shadowy Spider Woman. For Molina, these flights of fancy provide an escape from real-world horrors of the dictatorial regime, and it takes awhile for Valentin's annoyance to give way to intrigue. Eventually, he sees the raw dignity in Molina's approach, leading to a connection that changes them both. Compellingly, these opposites discover common ground simply by sharing their thoughts, dreams and ideals. Jailed for being gay, Molina longs to live luxuriously like his drama queen idol, while Valentin is so dedicated to fighting the oppressive government that he lost his girlfriend Marta (Scaglione). In the Technicolor movie, Aurora has finally found true love, but it's threatened by an ancient curse. These ideas swirl around with intent, making strong impact as the inner feelings of these two men emerge. With nuance and charisma, Luna and Tonatiuh express humour, cynicism and earthy honesty, often simultaneously. The actors skilfully expose pure humanity in acts of selflessness. So it's beautiful to watch these two men become closer, to the point where Valentin admits that gender is a social construct. Both actors also play roles alongside Lopez in the movie musical, finding other textures while Lopez gets to belt out the big tunes and perform elaborate dance numbers. And she also has riveting layers. The clever premise is that these colour-drenched fantasies are a distraction from torture and violence, and also that art can help us deal with bigger issues in our lives. While the prison sequences have a terrific earthiness, the musical sections never quite attempt to mimic classic filmmaking. Instead, they look oddly artificial, which is somewhat jarring. But there's genuine power in both the songs and several properly wrenching dramatic scenes. And in the end, this becomes a celebration of the healing power of true acceptance.
R E A D E R R E V I E W S ![]() ![]() |
||||
© 2025 by Rich Cline, Shadows on the Wall | |||||
HOME | REVIEWS | NEWS | FESTIVAL | AWARDS | Q&A | ABOUT | TALKBACK |