By Jessica Herndon
One of the most exciting things about the Sundance Film Festival is having a front-row seat for the bright future of independent filmmaking. While we can learn a lot about the filmmakers from the 2025 Sundance Film Festival through the art that these storytellers share with us, there’s always more we can learn about them as people. We decided to get to the bottom of those artistic wells with our ongoing series: Give Me the Backstory!
If there is one thing to know about writer-director Bill Condon, it’s that he likes to keep a low profile, even with a new project starring Jennifer Lopez and Diego Luna. “I hate having any kind of spotlight pointed in my direction,” says the veteran filmmaker, whose latest feature, Kiss of the Spider Woman, will debut in the Premieres section of the 2025 Sundance Film Festival. “Leave that to the folks who enjoy it!” But, it’s hard not to once again sing the praises of the director who debuted Gods and Monsters at the Fest in 1998 and later gave us Kinsey and Dreamgirls, considering he deserves his flowers for the dreamy Kiss of the Spider Woman.
Derived from the stage musical that is based on Manuel Puig’s 1976 novel of the same name, Condon’s adaptation breathes new life into this story. Following Valentín (Diego Luna), a revolutionary, and Molina (Tonatiuh), who was imprisoned for public indecency, as they forge an unlikely bond in prison, the film weaves a vivid tale of identity, resilience, and connection against the backdrop of Argentina’s Dirty War. As Molina recounts a fantastical Hollywood musical starring Ingrid Luna, portrayed by Lopez, the prisoners’ relationship deepens. “It feels as if it’s taken 50 years for the world to catch up to Puig, particularly the way he framed issues of gender and sexuality against a larger political backdrop,” Condon notes of the story’s timelessness.
Below, he discusses the casting process for Kiss of the Spider Woman, a moment during the film’s production that had him in awe, and the artists that inspire him.
What was the biggest inspiration behind Kiss of the Spider Woman?
The enduring relevance of the almost 50-year-old novel by Manuel Puig on which the film is based.
Films are lasting artistic legacies. What do you want yours to say?
That love can grow in the most unlikely places. And that love can change the world.
Tell us an anecdote about casting or working with your actors.
We were very fortunate to attract our first choices — Jennifer Lopez and Diego Luna — for two of the three leading roles. We decided to cast a wide net for Molina and auditioned hundreds of actors in the U.S., South America, Mexico, and Europe. Tonatiuh emerged as a clear favorite and was immediately thrown into the deep end. Watching him not only survive but thrive was one of the great joys of making this film.
What was your favorite part of making Kiss of the Spider Woman? Memories from the process?
There are so many, but I admit that stepping onto a soundstage where an entire village square was created in the style of a golden-age Hollywood musical was a special thrill.
Tell us why and how you got into filmmaking.
My mother shared her love of movies with me from a very young age.
Why is filmmaking important to you? Why is it important to the world?
When they are honest, films have the ability to change the way we see the world.
What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?
Trust the audience.
Who are your creative heroes?
So many, but right now, I’d say Jennifer Lopez, Diego Luna, Tonatiuh, and John Kander.
What three things do you always have in your refrigerator?
Olives, vermouth, and vodka.
What was the last thing you saw that you wish you made?
Peter von Kant.
Which of your personal characteristics contributes most to your success as a storyteller?
I think an ability to hone in on the smallest detail while keeping the whole picture in focus.
Who was the first person you told when you learned you got into the Sundance Film Festival?
Jennifer [Lopez].
What’s your favorite film that has come from the Sundance Institute or Festival?
Fruitvale Station.
Tell us about your history with Sundance Institute. When was the first time you engaged with us? Why did you want your film to premiere with us?
I brought Gods and Monsters to Sundance in 1998. The film was without distribution and might have become an obscure cable movie if it hadn’t been embraced in such a caring and generous way by the Festival and its audience. I’ve made many kinds of films since then, at all different levels, but none as truly personal and independent as Kiss of the Spider Woman.
