If you think KISS OF THE SPIDER WOMAN has already shown you its every side—on stage, in an Oscar-winning 1985 film, or via the enduring novel that started it all—prepare to be surprised. The newest incarnation of this beloved tale just made its world premiere at the 2025 Sundance Film Festival, introducing a “film within a film” twist and sparking excitement among theatre fans and movie buffs alike. Starring Jennifer Lopez, Tonatiuh, and Diego Luna, the screen adaptation is written and directed by Bill Condon, known for previous musical hits such as Dreamgirls. Early glimpses suggest this version boldly embraces the show’s queer themes, refines the song list, and invites us into the intimate world of two prison cellmates caught in the crosshairs of Argentine politics. With in-person screenings in full swing in Park City, Utah, and a general release in cinemas on the horizon, it’s time to see how this new SPIDER WOMAN spins its web.
The most recent musical adaptation of KISS OF THE SPIDER WOMAN originally began life on stage in 1992, showcasing the creative powerhouse of John Kander, Fred Ebb, and Terrence McNally. That Tony Award-winning production wove together political tension, romance, and the dreamlike allure of old Hollywood glamour. Now, with Condon at the helm, the story returns to its cinematic roots—albeit as a big, technicolour musical that fuses intimate drama with the spectacle of classic film.
For those new to KISS OF THE SPIDER WOMAN, the plot follows two inmates in an Argentine prison during a time of political turmoil. Luis Molina (played in this film by Tonatiuh) is a gay window dresser using fantasy to endure the brutality of incarceration. Meanwhile, Diego Luna steps into the role of Valentin Arregui, a socialist revolutionary driven by the cause that landed him behind bars. Their worlds collide in an unlikely but profound friendship, one nurtured by Molina’s love of escapist cinema—and in particular, his idolised screen goddess, Aurora.
In Condon’s adaptation, Aurora becomes Ingrid Luna (the film’s fictional star within a star, portrayed by Jennifer Lopez). The director describes this ambitious approach as essentially crafting “two movies,” one focusing on the gritty realities of the prison, and the other a mini Hollywood-style musical that runs just over half an hour. The result, he hopes, will merge “a textually rich historical and political drama with the flashy technicolor extravagance of an old Hollywood musical,” as described by Sundance’s own listing for the film.
Although the 1976 novel by Manuel Puig first introduced the story, KISS OF THE SPIDER WOMAN became widely known through its 1985 film adaptation—an Oscar-winning production starring Raúl Juliá, William Hurt, and Sônia Braga. This version, while lauded, largely downplayed certain romantic undertones between Valentin and Molina. Over the years, interpretations of the text have grappled with how directly to portray Molina’s queerness and the two men’s evolving connection.
On stage, the 1992 musical broke fresh ground: starring Chita Rivera as Aurora, it brought high-octane production numbers into a narrative filled with political terror and personal risk. Later, Vanessa Williams took over the title role for her Broadway debut, further cementing the show’s place in musical theatre history. At times brimming with comedic flair, at others searingly tense, it has remained both a critical and fan favourite.
Various attempts have been made to revive the musical for Broadway in recent years, including a high-profile reading in 2015 featuring Audra McDonald, Alan Cumming, and Steven Pasquale. Even the Kennedy Center planned a short-run revival as part of its Broadway Center Stage series, only to pull the show in favour of a production of SPAMALOT, citing “casting complications” and hints of an imminent Broadway revival. That revival never came to fruition—though it’s clear the appetite for SPIDER WOMAN has never waned.
Although Jennifer Lopez has performed on some of the world’s largest stages and forged a formidable pop music career, this film marks her first time starring in a bona fide musical theatre piece. She was once attached to a live TV production of BYE BYE BIRDIE for NBC, but scheduling conflicts nipped that in the bud. Equally, her 2024 release This Is Me… Now: A Love Story served more as a self-produced musical film akin to a visual album rather than an adaptation of an existing stage show.
Casting Lopez as the Spider Woman is sure to generate keen interest, particularly given the legacy of icons who have portrayed Aurora on stage. According to Vanity Fair’s exclusive coverage, Lopez and Condon have crafted a lavish “film within a film” approach, giving the star the space to revel in the glamour of 1940s- and 1950s-inspired cinema tropes. Meanwhile, in the prison storyline, she appears as a haunting presence, an almost mythic figure conjured by Molina’s imagination. Fans of the star’s pop hits may also be intrigued to see her interpret the darker side of Aurora—one that eventually manifests as the menacing Spider Woman symbolising death.
A key change in this adaptation is the “heated and romantic” reinterpretation of Valentin and Molina’s relationship. Over the years, various incarnations, particularly in film, were criticised for side-stepping the full extent of Molina’s queerness. Condon has chosen to embrace it. Speaking to Vanity Fair, he said the 1985 film was impactful for him as a younger gay man and that the subsequent Broadway musical also took important steps in representing queer identity on stage.
Condon’s version goes a step further, reframing Valentin and Molina’s connection as an undeniable bond that does not shy away from physical or emotional intimacy. This direct approach could prove especially potent on screen, considering both the immediacy of cinema and the star power of Tonatiuh and Diego Luna. Their chemistry, shaped by the claustrophobia of the prison environment, may lay bare the myriad ways love can surface, even in the face of political terror and cultural stigma.
While most theatre lovers might expect a faithful transfer of every musical number from stage to screen, Condon has made a different decision. Several of the original Kander and Ebb songs have been cut to avoid having characters spontaneously break out into tune in the gritty prison environment. Instead, the big musical set pieces appear mostly in the separate “movie” portions—Lopez’s 35-minute fantasy film—thereby preserving the realism of prison life.
Though Vanity Fair has yet to confirm which songs got the axe, speculation is already swirling. Stage fans will be relieved to learn that certain iconic numbers should remain intact, particularly Kiss of the Spider Woman, likely the beating heart of Aurora’s cinematic fantasies. Nonetheless, the restructuring underscores the fundamental shift in how this adaptation handles story flow. By limiting random bursts into song, the film leans into its dual framework: an intense prison drama on one hand, a lavish golden-age musical on the other.
Behind the scenes, this KISS OF THE SPIDER WOMAN is a heavyweight collaboration. Producing for Artists Equity, the new film studio formed by Ben Affleck and Matt Damon, are Barry Josephson, Tom Kirdahy, and Greg Yolen. Meanwhile, Michael Joe, Danie Bernfeld, and Kevin Halloran serve as executive producers alongside Condon for 1000 Eyes, Lopez and Elaine Goldsmith-Thomas for Nuyorican Productions, and D. Matt Geller for Josephson Entertainment. Adding further layers of creative insight, Luna, Pamela Thur, Sam Weisman, Daniel Weisman, and Margaux Weisman also join as executive producers.
Even if each name is not a fixture in Broadway circles, collectively they bring a wealth of experience in both mainstream film-making and stage musicals. This cross-pollination may ensure the adaptation stays both true to its theatrical roots and attuned to the demands of a modern movie-going audience. With a runtime of 128 minutes, the result, in Sundance’s own words, “marries historical and political drama with the flashy technicolor extravagance of an old Hollywood musical.”
One particularly unique facet of this SPIDER WOMAN centres on its stance towards queer representation. The narrative’s timeliness is striking, especially as global audiences continue to champion LGBTQ+ inclusivity in mainstream entertainment. Back in 1992, the Broadway musical made waves by refusing to camouflage Molina’s sexuality, a bold move that contributed to the piece’s raw, emotional honesty. Today, KISS OF THE SPIDER WOMAN comes to a far more receptive environment, where mainstream audiences are increasingly open to narratives that explore diverse experiences.
Condon’s personal connection to the material underscores its importance; he has pointed out how seeing the 1985 film was meaningful during his younger years as a gay man. By shaping Valentin and Molina’s relationship into something more “heated and romantic,” the new adaptation could become a benchmark in film musicals, celebrating queer intimacy without euphemism or retreat.
The 2025 Sundance Film Festival serves as an ideal launching pad for this bold adaptation. Known for championing independent projects and innovative storytelling, the festival has a long tradition of elevating musicals that take risks. Park City attendees have the privilege of being the first to see exactly how Condon’s two-pronged filmmaking approach resonates in practice. If early word-of-mouth is positive, the film could head into its theatrical release with significant momentum, appealing to both dedicated theatre fans and casual moviegoers intrigued by Jennifer Lopez’s star turn.
With the festival running from 25 January to 2 February, critics and audiences alike are sharing their immediate reactions. In an era that demands nuance and authenticity in cultural depictions, KISS OF THE SPIDER WOMAN might just meet—if not exceed—those expectations. And if it does, it will further cement the staying power of a story that began nearly half a century ago in Manuel Puig’s ground-breaking novel.
Ultimately, the spirit of KISS OF THE SPIDER WOMAN has always been about facing oppression with imagination, forging hope in the darkest of places, and challenging social taboos through compassion and love. Now, with a new cast, new creative lens, and the swirling synergy of stage and screen, Condon’s film invites us to see Valentin and Molina’s tale in a vibrant new light. Perhaps the biggest test will be whether this 21st-century reimagining captures the timeless aspects that have kept the story relevant: that is, the power of our fantasies to sustain us—and the transformative potential of human connection under the direst conditions.
How it all plays out in mainstream cinemas remains to be seen, but one thing is certain: KISS OF THE SPIDER WOMAN isn’t content to rest on a revered reputation. By reconfiguring songs, upping the romance, and doubling down on the musical’s thematic heft, Bill Condon and Jennifer Lopez have made sure this new iteration stands apart, whether you’ve seen a past production or not. The question lingers, then: will audiences be seduced by the Spider Woman’s shimmering webs, or recoil from the dangerous realities her presence signifies? Given the story’s track record and Lopez’s unmistakable on-screen magnetism, you might want to bet on the former.
As KISS OF THE SPIDER WOMAN emerges from the Sundance spotlight, it represents a fascinating crossroads of theatre legacy, Hollywood dazzle, and present-day cultural awareness. Part prison drama, part lavish musical extravaganza, it affirms that stories with profound social undercurrents can also be stylish, sensuous, and entertaining. Whether you’re a die-hard fan of the original stage show, a newcomer to its potent mix of romance and revolution, or simply curious to see a beloved pop icon take on a Tony Award-winning role, keep your eyes peeled for this reimagined web of longing and liberation. After all, the only thing more compelling than a classic story is one that evolves with time, capturing hearts all over again through the crackle of fresh ideas and fearless artistry.
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