Kiss Of The Spider Woman (15)

In 1983 Argentina, the military dictatorship hunts down dissidents and critics, and thousands disappear without a trace. Trans window dresser Luis Molina is one of the casualties of this so-called Dirty War. She is convicted of public indecency and moved into a shared cell with political prisoner Valentin Arregui Paz. The warden demands information about Valentin's revolutionary comrades and secretly approaches Luis with the promise of parole in exchange for turning snitch.

LondonNet Film Review

Kiss Of The Spider Woman (15) Film Review from LondonNet

Jennifer Lopez razzle dazzles in multiple roles in a high-kicking musical drama based on the Tony Award-winning stage production, which boasts a book by Terrence McNally and music and lyrics by Cabaret’s ringmasters John Kander and Fred Ebb. Director Bill Condon spins a tangled web of visually dazzling set pieces around a grimly compelling prison drama, harnessing some of the dynamism of his behind-the-camera contributions to Chicago, Dreamgirls, The Greatest Showman and the live action Beauty And The Beast…

In 1983 Argentina, the military dictatorship hunts down dissidents and critics, and thousands disappear without a trace. Trans window dresser Luis Molina (Tonatiuh) is one of the casualties of this so-called Dirty War. Luis identifies as a woman and she is arrested and convicted of public indecency and moved into a shared cell with political prisoner Valentin Arregui Paz (Diego Luna). The warden (Bruno Bichir) demands information about Valentin’s revolutionary comrades and secretly approaches Luis with the promise of parole in exchange for turning snitch.

It’s a tantalising offer for Luis, whose mother is sick. Instead, Luis buoys Valentin’s spirits by telling stories about her favourite film starring glamorous screen idol Ingrid Luna (Lopez). Luis excitedly explains the movie’s plot about a magazine publisher, Aurora (Lopez), who falls under the spell of dashing photographer Armando (Luna). Fate – in the form of a malevolent spirit called the Spider Woman (Lopez… again) – cruelly conspires to drive the couple apart. Life behind bars imitates Technicolour fantasy as cohabiting inmates fall in love and Luis faces a stark choice between passion and loyalty.

Based on Manuel Puig’s 1976 novel, Kiss Of The Spider Woman is a touching tribute to the enduring power of the human spirit in the face of adversity and a reminder of cinema’s ability to open an escape hatch from the everyday. “Sorry to break the news but nobody sings in real life,” quips Valentin, vibrating with disdain for musicals as an artform. “Well maybe they should!” defiantly responds unapologetic escapist and dreamer Luis. Her stand-out solo number “She’s A Woman” is just as mesmerising on celluloid as on stage and Tonatiuh relishes every emotion-soaked syllable.

Lopez channels the vivacity of one of musical theatre’s undeniable powerhouses, Chita Rivera, who originated the lead role on stage and earned a Tony Award. The Bronx-born star’s exuberance is infectious and every time she is off screen, Condon’s picture experiences a palpable drop in energy. Style repeatedly wins the tug of war with substance as cinematographer Tobias A Schliessler adopts a visual shorthand of different colour palettes and screen ratios to distinguish the lingering threat of violence in prison from the bedazzled splendour of musical numbers. The show’s closing number says it all: Only In The Movies.

-Jo Planter