Kiss of the Spider Woman (2025) Review: Oh Molina!

“The nicest thing about feeling happy is that you think you’ll never be unhappy again.”

Isn’t it true? Isn’t it possible to fool yourself into thinking that happiness is permanent?

Set against the turbulent backdrop of 1983′ Argentina, during a period of brutal dictatorship in the shadow of the Dirty War, this cinematic version based on Manuel Puig’s 1976 novel ‘El beso de la mujer araña’ and the Tony-winning Broadway musical by playwright Terrance McNally, is a musical masterpiece that fuses showgirl glamour with the raw darkness of revolution and captivity, leaving a sultry imprint on the soul.

In the suffocating confines of a prison ruled by dread, Molina (Tonatiuh), a flamboyant window dresser jailed for moral indecency with another man, passes the time spinning silver-screen reveries and adorning the cell with tattered movie posters, his chatter constant, his charm disarming. Valentín (Diego Luna), by contrast, is a stoic and cerebral revolutionary, akin to an ardent leftist whose solace lies in dog-eared political tomes and quiet rumination.

Unbeknownst to Valentín, Molina harbors a secret: he has struck a covert bargain with their captors. In exchange for small luxuries like roast chicken, chocolate, beaded curtains and the promise of an early parole, Molina needs to stealthily spy on his cellmate. Will he succeed in his endeavour, or will he not be immune to emotions in this deal of deception?

To bide time, the chatterbox Molina, undeterred by Valentín’s unwillingness to communicate, recounts a tale of old Hollywood glamour each night before the prison lights go out. At the story’s center is Aurora (Jennifer Lopez), a glamorous fashion editor unable to commit to love. Luna portrays Armando, Aurora’s intense and smoldering lover, while Tonatiuh assumes the role of Kendall, her closeted and loyal assistant, whose quiet yearning mirrors Molina’s own hidden desires under the repressive regime of 1983 Argentina. Lopez also doubles as the Spider Woman, a mysterious figure whose kiss brings death.

In stark contrast to the grim, monochrome bleakness of the prison, Molina’s imagined film world bursts to life in a riot of technicolor splendor, awash in opulent costumes, saturated hues, and extravagant song-and-dance numbers that echo the golden age of MGM musicals.

However, as the tale progresses, the cinematic story begins to intertwine with their real lives as Molina and Valentín’s bond grows stronger, initially as friends. Through thick and thin, the two cellmates develop a close, unbreakable bond, that culminates with an unavoidable finale.

The film addresses issues of homophobic perception, self-depreciating behaviour, love through revolution, social stigmas and deception. It rings true even in today’s world as one questions whether the world has really changed yet.

All three actors play dual roles. A star is born through the groundbreaking performance by Tonatiuh. The newcomer literally stole the spotlight, no debate. Diego Luna is the very essence of a man caught between love and anguish, amid a world of revolution, whether as Armando or Valentín. Surprisingly, Jennifer Lopez’s role is more supporting in nature, but her screen presence cannot be overlooked as she sizzles in the dance sequences, gliding through them with effortless ease. Believe me, her choreography was hard!

It was fascinating to witness Molina’s storytelling weave the nostalgic charm of a vintage Hollywood musical, punctuated with sharp bursts of humor, all while seamlessly intertwining the dark era of the Argentine revolution.

I don’t know what I expected when I walked in, but this one was impressive. Mind you, you need to love all four elements: music, dance, violence and a good ole tale as old as time.