The film sees revolutionary Valentín Arregui (Diego Luna) incarcerated for his political activism, while his recently arrived gay cellmate Luis Molina (Tonatiuh) has been jailed for public indecency. The two are forced to share a cell by the prison governor (Bruno Bichir), who is pressuring Molina to extract information from Arregui that they’ve been unable to get any other way.
As Molina begins recounting the plot of his favourite movie – Kiss of The Spider Woman – the action is whisked to a film-within-a-film structure. There, he imagines himself in the role of the closeted gay assistant to Luna’s magazine editor character Aurora, while casting Arregui as her love interest Armando. Lopez gets to pull double diva duty as the mythical femme fatale-like Spider Woman, who threatens to steal away Armando and Aurora’s happiness with her kiss.
Although Lopez is the main attraction, Tonatiuh also gets plenty of room to showcase his talents. Diego Luna, by comparison, while sincere, doesn’t have either the same vocal prowess or the dancing verve as his counterparts, although you can feel the effort he is putting in to try to match them..
View Green Video on the source websiteCondon’s depiction of the prison, however, lacks grit, meaning that there’s not enough contrast between it and Molina’s fictional conjurings. Everything from the lighting to the set dressing feels stagey. The idea of escapism only partially works with reality as soft at the edges as this.
Luna has a much trickier job on his hands, not least because the characterisation of Arregui is so macho. The dialogue between the cellmates also has a stilted quality, meaning the shifting nature of their relationship feels more like ticking off plot points than charting a natural arc. No matter how complex the web, Condon’s uneven Spider Woman lacks bite.
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