PARK CITY, Utah (AP) — A lavish, MGM-style musical is not typical Sundance Film Festival fare. But Sunday night, Bill Condon brought such a creation—well, part of one—to Park City with his adaptation of “Kiss of the Spider Woman,” starring Jennifer Lopez. Audiences broke out in spontaneous applause during the screening for Lopez’s song and dance numbers. She plays an old Hollywood screen siren in a movie-within-the-movie. The packed Eccles Theater also gave Lopez, wearing a glittery spiderweb themed frock, a standing ovation after the show.
“I’ve been waiting for this moment my whole life,” Lopez said. The story, which revolves around the conversations between two cellmates in an Argentine prison, was first a novel by Manuel Puig in 1976 and has been adapted for stage and screen over the years. A 1985 film adaptation starred William Hurt and Raul Julia, the former winning an Oscar for his performance. On Broadway, it won multiple Tony Awards.
Condon wrote and directed this new version, which is seeking a distributor. Diego Luna plays revolutionary Valentin Arregui, whose new cellmate Luis Molina (Tonatiuh) loves movies, celebrity, and glamour, and enthusiastically recounts the story of a favorite movie musical, also called “Kiss of the Spider Woman,” providing them and the audience with a break from their bleak reality. While the film has memorable moments of escapist spectacle, it also delves deeply and seriously at topics of gender identity.
Molina shares with Valentin his feelings of ambivalence about gender, telling him they don’t feel like either man or woman—a sentiment Valentin finds odd, but eventually grows to understand. Before the screening, Condon mentioned how his movie reflects on bridging “the incredible differences” among people. He referenced former President Donald Trump’s proclamation about gender: “That’s a sentiment I think you’ll see the movie has a different point of view on.”
The discussion of gender identity and tolerance continued after the film. Tonatiuh shared their transformation, reflecting on the challenges of growing up as a “femme queer Latin kid” and how it caused them to feel limited on their path to potential success as an actor. “When I got this material, I knew this person spiritually,” Tonatiuh said, admitting they understood the struggles of feeling like both a misfit and hero within one’s own life.
But most of all, everyone was just thrilled to participate in what they described as “a real movie musical.” Condon expressed, “I did write this line: ‘I pity people who hate musicals.’” Lopez echoed his sentiment, recalling how watching “West Side Story” every Thanksgiving inspired her desire to perform.
“This gave me the chance to fulfill my dream,” Lopez said through tears. “And even now, just remembering how much I wanted this, it feels surreal.”
The narrative focuses on the depths of Molina’s and Valentin’s relationship, showing how they initially come from opposing backgrounds—Molina indulging in his fantasies of films, and Valentin deeply immersed in political revolution. Lopez plays Aurora/Ingrid Luna—the Spider Woman, all figments of Molina's imagination, as he recounts the plot of classic musicals to escape the grim confines of prison during Argentina’s Dirty War.
Lopez’s role entails embodying the glamour and allure of old Hollywood, drawing certain parallels to previous performers like Chita Rivera, who took on similar roles on stage. This film, being independently financed and produced, marks Condon’s homecoming to Sundance, where he previously debuted with “Gods and Monsters.”
While the film brings nostalgia and glamour, it also acts as a commentary on contemporary social issues. Condon, during press interactions, emphasized how significant observable differences remain, especially echoing sentiments of division heightened by the current political climate. He stated, “The promise of the movie is to show how, through kindness and love, we may find common ground.”
Lopez reflected on the innate challenges and limitations she faced entering the entertainment industry, underscoring how everyone deserves to express themselves freely, without facing societal judgment or ridicule.
“That’s what we hope people take away from the film,” she said. “Seeing each other as people, rather than based on what labels we carry.” The sentiment flowed naturally within the film, portraying how connection thrives beyond traditional norms.
Overall, “Kiss of the Spider Woman” captured not just the spirit of musical cinema, but also the empathy and mutual respect necessary for connection. Audiences responded fervently, clamoring for more of the warmth and vitality it invoked during its premiere.
After the film, as the credits rolled, Condon stated how proud he felt about leading such a stirring project. Lopez added, “This is what I always wanted to do, and thanks to all of you here tonight, it was for you I made my dreams come true.” With its unique perspective and relevant themes, the film stands as both entertainment and enlightenment amid stark narratives.
With bright hopes for its future, “Kiss of the Spider Woman” seeks distribution, aiming to bring its vibrant narrative to audiences far beyond Park City.