
A dazzling, MGM-style musical isn’t the usual offering at the Sundance Film Festival, but Sunday night saw director Bill Condon and Jennifer Lopez bring a unique spectacle to the snow-covered streets of Park City. Their adaptation of Kiss of the Spider Woman, blending old Hollywood glamour with poignant themes of gender identity and human connection, took centre stage at the packed Eccles Theatre.
The audience responded with spontaneous applause for Lopez’s striking song-and-dance numbers, where she portrayed a glamorous old Hollywood screen siren in a movie-within-the-movie. Dressed in a shimmering spiderweb-themed gown, Lopez earned a standing ovation at the film’s conclusion, leaving the room buzzing with energy.
“I’ve been waiting for this moment my whole life,” Lopez shared tearfully, reflecting on her role in the musical.
Based on Manuel Puig’s 1976 novel, Kiss of the Spider Woman explores the relationship between two cellmates in an Argentine prison. The story has seen several adaptations, including a 1985 film that earned William Hurt an Oscar for his performance and a Broadway production that garnered multiple Tony Awards.
In Condon’s version, Diego Luna plays Valentin Arregui, a revolutionary imprisoned for his political beliefs, while Tonatiuh takes on the role of Luis Molina, a film-obsessed cellmate. Through Molina’s vivid recounting of a beloved movie musical, also called Kiss of the Spider Woman, the grim reality of prison life is intermittently replaced with escapist sequences of glamour and fantasy.
Condon’s adaptation retains the dazzling allure of a classic musical but delves deeper into serious themes. A central focus is Molina’s revelation about their gender identity, sharing with Valentin that they don’t feel strictly male or female. Initially perplexed, Valentin gradually grows to understand Molina’s perspective, underscoring the film’s message of bridging differences and fostering empathy.
“This film is about the attempt to bridge the incredible differences that separate us,” Condon said before the screening. His remarks subtly contrasted with contemporary political debates, though the focus remained on the story’s human themes.
The post-screening discussion amplified these messages, with Tonatiuh reflecting on their personal connection to the role. “As a femme queer Latin kid, I grew up in a culture that didn’t celebrate who I was. This role allowed me to showcase the full spectrum of identity—feminine, masculine, and everything in between,” they shared.
The musical numbers, punctuated by Lopez’s electric performances, were a highlight for many. The production’s blend of escapism and social commentary felt fresh and invigorating for the audience.
“I did write that line, ‘I pity people who hate musicals,’” Condon said with a laugh, referencing a pivotal moment in the film. “Musicals allow for all the magic of cinema to happen in a single frame.”
For Lopez, the project was deeply personal. She recounted how watching West Side Story every Thanksgiving inspired her dreams of becoming a performer. Working on Kiss of the Spider Woman felt like the fulfilment of that childhood aspiration.
Through tears, Lopez said, “Bill Condon made my dreams come true.”
With its combination of lavish musical sequences, heartfelt performances, and layered storytelling, Kiss of the Spider Woman stands as both a bold creative endeavour and a testament to the enduring power of musicals. As the film seeks distribution, it promises to resonate with audiences far beyond the snowy confines of Sundance.