Sundance 2025: KISS OF THE SPIDER WOMAN and TWO WOMEN

Aside from having a similar word in its titles, the following two films from Sundance 2025 share little in common. Bill Condon‘s adaptation of Kiss of the Spider Woman is a musical spectacle positioned perfectly for Jennifer Lopez‘s talents. Two Women, on the other hand, is a much smaller-scale dramatic comedy from Canadian filmmaker Chloé Robichaud about sex and motherhood.

Kiss of the Spider Woman

The fact that it took this long for Jennifer Lopez to star in a musical is truly astounding, and with Bill Condon’s Kiss of the Spider Woman, we see the multi-hyphenate singer-turned-actress assume a role she was seemingly born to play. It’s hard to argue that Lopez is simply phenomenal as the film’s titular character, but it’s much harder to support the film itself on a similar level. Condon likely had the best of intentions when he decided to adapt this beloved novel (and stage musical). The result, unfortunately, is an uneven narrative that fails to launch as the spectacle it promises to be.

Set during the Dirty War in 1980s Argentina, a time of civil unrest, a local window dresser, Molina (Tonatiuh) is thrown into prison after being arrested for public indecency. He shares a cell with Valentin (Diego Luna), a Marxist activist, imprisoned for his political views. As Molina recounts his favorite film, Kiss of the Spider Woman, he draws parallels between fact and fiction. Lopez plays multiple roles within the the depicted Spider Woman film, which is primarily characterized by its strong musical numbers.

The narrative is structured in a way where we essentially get two separate films; one set within the confines of a local prison, and the other as musical incantations coming from Molina’s imagination. Jumping between these two worlds offers an interesting dichotomy of reality and fiction and hoists the power of cinema as both a reflection and remedy of societal struggles. Holding a mirror up against the cinematic medium is rather ingenious, and in some respects, celebrates the power of visual storytelling in the midst of real civil unrest.

Unfortunately, Condon doesn’t create a fully realized connection between these two worlds. They feel too distinctly different, making it hard to blur the lines and fully invest in the film’s central narrative deceit. Granted, these two worlds should feel different, but they should also have a sense of cohesion that ties them together. Aside from having Luna and Tonatiuh (in addition to some supporting characters) play double duty between sequences, there’s little else gripping these two worlds together.

Visually speaking, the prison scenes are also too dimly lit, failing to reveal the harshness in conditioning that the story is trying to convey. Contrast this to the musical numbers, which were obviously shot in a different locale, and have a crispness that cinematographer Tobias A. Schliessler could have carried over to some degree. Luna is dependably proficient in his portrayal of a restrained and stubborn activist, but Tonatiuh is the true star here. Most headlines will understandably gravitate towards Lopez, but Tonatiuh easy steals the show with a gripping performance that’s full of emotional intelligence.

The film’s celebration of transgender identity and the importance of political freedom speaks volumes amidst its dramatic and musical elements, and Condon should be lauded for taking on such an endeavor. As an adaptation of a beloved story to the screen, however, he does fail to unite what essentially feels like two separate films into a cohesive piece of filmmaking. Lopez, Luna and Tonatiuh are quite exceptional, but it does feel like their talents are somewhat wasted here.

Two Women

Two Women explores the intricacies of womanhood, creating comedy out of the often unfair, and unjust standards of modern day relationships. The film also tackles monogamy with a renewed sense of perspective and is simply a refreshing narrative crafted with tremendous care. Coming from talented Canadian filmmaker Chloé Robichaud, this is bound to be one of the most fun and heartfelt times you’ll have at the movies this year.

Serving as a modernized remake of the Canadian film Two Women in Gold, Two Women resolves around Florence (Karine Gonthier-Hyndman) and Violette (Laurence Leboeuf), neighbors in a residency building. Both are going through motherhood at different stages, with Florence having a 10-year-old son while Violette grapples with the challenges of a newborn baby. As the struggles of suburban life becoming increasingly overbearing, the two end up exploring their own sexual needs, both within and outside of traditional avenues.

To its very core, Two Women is extremely funny, with Gonthier-Hyndman and Leboeuf hitting comic gold at almost every turn. Their comedic timing is matched by the film’s talented supporting cast, including strong turns from Sophie Nélisse and Juliette Gariépy. And thanks to Catherine Léger’s screenplay, the film never devolves into the arena of raunch, always maintaining a level of civility despite its playfulness. 

Robichaud also handles intimacy with unflinching honesty while also finding heart and humour when the situation demands of it. And without ever losing her grip on the story’s more serious undertones, she’s able to pontificate on issues surrounding womanhood and sexuality in a manner that never feels stale. The film is really contextualized to allow for an array of emotions, both serious and comedic ones, creating the perfect space for thoughtful discourse.

Two Women is a fun and energized comedic joyride, which is balanced by a screenplay that emphasizes earnest emotions. Robichaud continues to invigorate through her filmmaking and is undoubtedly one of the most talented Canadian directors working today.

Kiss of the Spider Woman and Two Women premiered at the 2025 Sundance Film Festival. Click here for more of Film Inquiry’s Sundance coverage.