Essay: What ‘Kiss of the Spider Woman’ can teach us about surviving fascism

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The premiere of “Kiss of the Spider Woman” at the Sundance Film Festival in January happened shortly after President Trump began his new term in office.

Only a few days into his presidency, Trump issued a series of executive orders focused on immigration. These orders aimed to increase detention facilities, speed up deportations, and remove safeguards that protected sensitive locations like schools and churches from ICE enforcement. He also announced that the U.S. government would only recognize male and female as genders.

Before the film screened in Park City, Utah, writer-director Bill Condon hinted to the audience that the movie offers a fresh perspective on the issues being discussed.

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“Kiss of the Spider Woman,” which came out in theaters on October 10th, takes place during the last year of Argentina’s Dirty War – a period of violent military rule from 1976 to 1983. The film opens in a Buenos Aires prison, where two new cellmates, Valentin Arregui Paz (Diego Luna) and Luis Molina (Tonatiuh), seem to have nothing in common. Arregui is a dedicated and idealistic revolutionary, while Molina is an openly gay and expressive window dresser who was imprisoned for a public decency violation.

Despite their disagreements, Molina brightens their harsh prison life – filled with torture and hardship – by retelling the story of “The Kiss of the Spider Woman,” a glamorous musical from a bygone era featuring his beloved actress, Ingrid Luna (played by Jennifer Lopez). He imagines himself and Arregui as her co-stars, and for a while, their struggles shift from fighting for survival to a more hopeful pursuit of love and respect within the fantastical world of the musical.

As a huge film and literature fan, I always find the backstory to a work fascinating. With Manuel Puig’s “Kiss of the Spider Woman,” it’s particularly poignant. He started writing it in 1974, having exiled himself to Mexico because Argentina was rapidly descending into a dictatorship. By the time the novel actually came out in 1976, the military had already taken over. What followed was a truly horrific period – the next seven years saw an estimated 20,000 to 30,000 people simply vanish. Many were abducted and taken to secret prisons where they were tortured and killed. The regime targeted anyone they saw as a threat – artists, journalists, students, LGBTQ+ individuals, basically anyone who didn’t fit their idea of what Argentina should be.

Puig’s novel, once prohibited in Argentina, has seen many adaptations, including a celebrated film in 1985 and a Tony-winning musical in 1993. Despite these changes, the core story has always stayed the same. The latest version, released this month, is both a remarkable achievement and a powerful reminder of the struggles faced under oppressive regimes, telling the story of two imprisoned men and their fight for freedom as queer Latino leads.

Since the film debuted at Sundance, the similarities between the difficult political situation in Argentina during the 1970s and current events have become even clearer.

During the Trump administration, there’s been a significant increase in aggressive actions by federal agents. We’ve seen videos of ICE officers arresting people near courthouses and using force – like pepper spray and rubber bullets – against journalists, protestors, and even religious leaders. Just recently, ICE carried out a heavily armed raid in Chicago, using helicopters and flash-bang grenades to enter an apartment building and detain residents, including women and children. At the same time, the number of immigrants being held in detention centers has reached an all-time high, and there are growing reports of mistreatment, neglect, and sexual abuse within those facilities, especially affecting LGBTQ+ individuals.

Behind the news stories are people—activists, artists, and ordinary individuals—who are finding unique ways to cope and fight back against a government that’s becoming more suspicious and controlling. While Arregui feels compelled to stay strong and dedicated to his beliefs, Molina is drawn to escape into the extravagant, fantastical persona of the “Spider Woman.”

Jennifer Lopez’s captivating musical performances, full of energy and charm reminiscent of classic Hollywood stars, completely mesmerize both the characters in the film and the viewers, pulling them into a vibrant and enchanting world.

It’s tempting to dismiss musicals as simple entertainment, like Arregui initially does, and label them as predictable and full of tired tropes. Molina first agrees, claiming that’s precisely what he enjoys about them, but the reality is much more nuanced.

During the years Argentina was ruled by a dictatorship, LGBTQ+ people faced increasing discrimination and violence from armed groups. Molina copes with this by outwardly playing the role of the outcast – the ‘monster,’ ‘deviant,’ or ‘sissy’ – that society expects him to be. Internally, he escapes into the world of classic movies and pop culture, finding comfort and a temporary escape from his reality by imagining himself in different, more accepting roles.

He doesn’t simply admire “La Luna”; he deeply desires to become her. In his first leading film role, queer, Los Angeles-born actor Tonatiuh brilliantly portrays all of Molina’s complex traits – his confidence, his suffering, and his inner light – with incredibly moving results.

Review

An emboldened redo of ‘Kiss of the Spider Woman’ dazzles, despite unsticky songs

The filmmaker behind “Chicago” and “Dreamgirls” has adapted a Broadway musical into a compelling and impactful story, featuring Jennifer Lopez, Diego Luna, and newcomer Tonatiuh.

As Molina and Arregui become more connected, the line between what’s real and what’s imagined starts to blur, and their strict beliefs begin to crumble. Arregui starts to share Molina’s optimistic outlook, and the musical he once dismissed as old-fashioned becomes precious – a source of happiness that can’t be destroyed. He, who always believed the world was flawed, comes to understand that even revolutions need optimism to succeed.

During the film’s climax, although the external world remains the same, Molina undergoes a significant internal transformation. Despite still being oppressed by a restrictive society, he embraces the honesty of Arregui and understands he has agency. He reflects, “I discovered dignity in the most unlikely of places.” He acknowledges his previous self-pity, stating, “I used to think nothing could ever improve, and I felt sorry for myself. But I can’t continue living that way.”

Similar to the movie shown within the movie, “Kiss of the Spider Woman” doesn’t offer a simple escape. Instead, it’s a source of strength and a powerful reminder that art can carry us through even the most difficult times, giving us courage and hope.

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2025-10-23 23:01