An activist (Diego Luna) and a window dresser (Tonatiuh) share a prison cell during Argentina’s military dictatorship. The dresser, Molina, copes by recounting the plot of her favorite film: Kiss of the Spider Woman. A musical fantasy starring a glamorous actress (Jennifer Lopez). Manuel Puig’s source novel was published in 1976. It was adapted into a play, a film, and a stage musical. Bill Condon has now written and directed a fun, messy, self-referential movie musical.

John Kander and Fred Ebb gave the actress songs that commented on the prison plot. Condon provides her a parallel storyline. She plays a magazine editor who is tormented by gangsters, jealous lovers and an ancient curse. The musical numbers showcase Lopez’s comic timing and dance skills. They’re impressive. But her tale distracts from Molina’s journey, when it should enhance it.

Condon cuts most of the prisoner’s songs. Then fast forwards past their initial animosity. Tonatiuh is warm and bubbly. Luna is a sensitive intellectual. Their friendship is gentle and supportive. There’s less bigotry. More queer joy. Sanding off the source materials’ rough edges makes the film easier to watch. But perhaps it shouldn’t be.

The central themes remain timely. Imagination and pragmatism are both important. A movement can’t sustain itself on anger alone. Exploring your sexuality and gender identity can be an act of political resistance.

Condon has Molina describe the film as a stew with too many ingredients. There are exciting moments, mixed with stretches of tedium and incoherence. I enjoyed enough of this film to wish it was better. I hope it finds an audience. And that it encourages folks to visit earlier incarnations.

You can read more of my reviews on The Avocado, Letterboxd and Serializd. My podcast, Rainbow Colored Glasses, can be found here.