Let’s be real for a second. Most modern "prestige" films feel like they were assembled in a lab to win awards. They’ve got the right lighting, the right social message, and the right somber music. But they often lack a pulse. Then you watch Hector Babenco’s 1985 masterpiece Kiss of the Spider Woman, and you realize what’s been missing. This movie is messy, claustrophobic, and deeply uncomfortable. It’s also one of the most human things ever put on celluloid.
I’m talking about a film that features a windowless prison cell in Brazil, two men who couldn't be more different, and a series of imaginary Nazi-propaganda movies-within-the-movie. On paper? It sounds like a disaster. In reality? It’s a masterclass in how storytelling literally saves lives. People remember it because William Hurt won the Oscar, but they forget how radical this film actually was for its time. Honestly, it still is.
The Setup You Think You Know
So, here’s the gist. We’re in a nameless Latin American dictatorship. Inside a grim cell, we have Luis Molina (William Hurt) and Valentín Arregui (Raul Julia). Molina is a gay window dresser convicted of "corrupting a minor." Valentín is a Marxist revolutionary who’s been tortured within an inch of his life.
Initially, they hate each other. Or, at least, Valentín hates Molina’s guts. He thinks Molina is shallow, obsessed with old movies, and a distraction from the "real" struggle of the proletariat. Molina, meanwhile, just wants to escape the stench of the prison by narrating the plots of glamorous films he’s seen. He’s a dreamer. Valentín is a realist. It’s the ultimate odd-couple trope, but played out in a hellscape.
But there is a twist. And if you haven't seen it, brace yourself. Molina isn't just there by accident. The prison warden is using him to spy on Valentín. They want to know the names of the revolutionaries. If Molina gets the info, he gets paroled. This isn't just a story about friendship; it's a story about betrayal, survival, and the weird ways we find dignity when everything else is stripped away.
Why William Hurt’s Performance Was a Gamble
You have to remember the context of 1985. Hollywood wasn't exactly a safe space for queer stories. When William Hurt took the role of Molina, people thought he was tanking his career. He was the quintessential leading man of the 80s—think Body Heat or The Big Chill.
Hurt didn't play Molina as a caricature. That’s what’s so striking. He played him with a delicate, tragic fragility that feels incredibly modern. He’s flamboyant, yes, but it’s a shield. When he describes the "Spider Woman" in his stories, he’s talking about himself—trapped in a web of his own making, waiting for a predator to finish the job.
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Raul Julia is the unsung hero here. Everyone talks about Hurt, but Julia’s transition from a rigid, angry ideologue to a man who finds tenderness in his cellmate is heartbreaking. He has to play the "straight man" to Molina's theatrics, and his slow softening is what gives the film its emotional weight. Without Julia, the movie is just a one-man show. With him, it’s a tragedy.
The "Movie Within a Movie" Genius
One of the weirdest parts of Kiss of the Spider Woman—and the part that usually confuses people on a first watch—is the footage of the Nazi film. Molina narrates this romantic, lush movie about a French cabaret singer who falls for a handsome German officer.
It’s propaganda. Pure and simple.
Valentín calls him out on it. He’s disgusted that Molina would find beauty in something so evil. But Molina’s response is basically: "I don't care. It’s beautiful." This creates a fascinating dialogue about art. Does the intent of the creator matter if the art provides comfort to someone in pain? Molina uses these stories as a literal sedative. He’s distracting Valentín from the pain of his injuries and the fear of his impending execution.
Breaking Down the Layers
- The Cell: Reality. Cold, hard, and violent.
- The Stories: Fantasy. Escapism as a survival mechanism.
- The Betrayal: The bridge between the two. Molina has to bring the "real world" (the warden's demands) into his "fantasy world" (his relationship with Valentín).
The Production Was a Nightmare
Babenco didn't have a big budget. He was filming in Brazil on a shoestring. The script, written by Leonard Schrader (based on Manuel Puig’s novel), went through dozens of iterations.
Burt Lancaster was actually supposed to play Molina originally. Can you imagine that? It would have been a completely different movie. When Lancaster had to drop out due to health issues, Hurt stepped in and insisted on Raul Julia. They rehearsed for weeks, basically treating it like a stage play. That’s why the chemistry feels so lived-in. You can almost smell the sweat and the desperation in that room.
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The Ending That Still Devastates
I won't give away every single beat, but the finale of Kiss of the Spider Woman is a gut punch because it flips the script on who the "hero" is. Throughout the film, we think Valentín is the brave one because he’s a revolutionary. We think Molina is weak because he’s "frivolous."
By the end, we realize that Molina is the one capable of the ultimate sacrifice. He moves from being a passive observer of movies to being the protagonist of his own tragic ending. He chooses a side. Not because he believes in Marxism, but because he loves a person.
It’s a brutal reminder that the most radical act isn't always a political protest. Sometimes, it’s just being kind to the person sitting next to you when you have nothing left to lose.
Common Misconceptions About the Film
- It’s a "Gay Movie": While it’s a landmark in LGBTQ+ cinema, calling it just a "gay movie" is reductive. It’s a film about the human condition, isolation, and the power of imagination.
- It’s Slow: If you’re used to Marvel movies, sure, it’s slow. But the tension in that cell is tighter than most action thrillers. Every look and every silence matters.
- Molina is "Weak": This is the biggest mistake viewers make. Molina’s survival instincts are incredible. He manages to manipulate the warden while providing emotional sanctuary for Valentín. He’s the smartest person in the room.
Why You Should Watch It Right Now
We live in an era of digital noise. We are constantly "connected" but often feel completely alone. Kiss of the Spider Woman explores what happens when you strip away the noise. When there are no phones, no crowds, and no distractions.
It asks: Who are you when you’re cornered?
The film also serves as a stark reminder of the dangers of authoritarianism. The "Spider Woman" isn't just a character in a story; she’s the state. She’s the system that traps people and waits for them to break. In 2026, with political tensions high globally, the message of finding common ground between a dreamer and a fighter feels more relevant than ever.
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Actionable Takeaways for Film Buffs
If you’re planning to dive into this classic, here’s how to get the most out of the experience:
Read the Book First (or After)
Manuel Puig’s novel is experimental. It’s told through dialogue, police reports, and even academic footnotes about the psychology of homosexuality. The movie is a great adaptation, but the book offers a psychological depth that’s impossible to film.
Look for the Color Shifts
Notice how the lighting changes. The prison cell is usually bathed in sickly greens and grays. The film-within-the-film sequences are lush, golden, and high-contrast. This visual storytelling highlights the divide between the characters' miserable reality and their vibrant internal lives.
Watch for the Hand Gestures
William Hurt spent a long time perfecting Molina’s physicality. Watch his hands. They are never still. It’s a constant expression of anxiety and a desire for beauty. It’s a masterclass in "acting through the body."
Compare it to the Musical
Yes, there’s a Kander and Ebb musical. It’s fantastic, but it’s a different beast. It leans more into the spectacle. Watching the film after the musical (or vice versa) shows how the same story can be interpreted as either a gritty drama or a surrealist fever dream.
Kiss of the Spider Woman isn't an easy watch, but it’s an essential one. It challenges your biases, makes you question your own bravery, and ultimately proves that even in the darkest hole on earth, a story can be a light. Find a quiet evening, turn off your phone, and let Molina tell you a story. You won’t regret it.