diego luna

“Kiss of the Spider Woman,” a sexual and scatological dazzler about an inmate‘s obsession with a favorite musical, sounds like the kind of thing some folks won’t watch even if they, too, were locked in a prison for years. Their loss. In the spirit of the film, I’ll try to change their mind.

It’s 1983 Argentina, the last days of a militarized dictatorship under which 30,000 people have been disappeared. Scraggly, severe Valentin (Diego Luna) is a political prisoner with ties to the revolutionary underground. His new cellmate is a brazen chatterbox named Molina (Tonatiuh), a gay window dresser serving an eight-year sentence for indecency in a public bathroom. They have zero shared interests. But to pass the time — and, more importantly, to get Valentin to put down his biography of Lenin and talk a little — Molina recounts the plot of a Golden Age spectacular starring the fictional movie star Ingrid Luna (Jennifer Lopez), a red-lipped, pineapple-blond beauty whose vintage posters brighten their wretched gray walls.

“I hate musicals,” Valentin complains.

“Then I pity you,” Molina says breezily, charging into the first scene.

Through beatings and starvation, poisonings and betrayals, all under the gaze of the oppressive warden (Bruno Bichir), Valentin and Molina escape into Technicolor in a desperate need for distraction. The writer-director Bill Condon (“Chicago,” “Dreamgirls”) has savvily, unabashedly reworked the 1993 Broadway extravaganza (already a bold adaptation of the 1976 experimental novel and 1985 Academy Award-winning drama). He’s double-cast Luna and Tonatiuh as the film-within-a-film’s leads and changed the imaginary tale from a Nazi propaganda flick to a melodramatic but moving South American romance between a glamour queen and a noble photographer. Its themes of love and sacrifice come to mirror Valentin and Molina’s own relationship.

The songs themselves are the same rather-forgettable numbers by John Kander and Fred Ebb who did a zingier job mixing fascism with feathers in “Cabaret.” “Live inside me on a movie screen,” Lopez’s Ingrid sings, luring Molina to get lost in daydreams. Behind her, dancers gyrate like victims being electrocuted. (I wouldn’t have minded more jolts of morbid humor.) Unhummable as the music is, its message has a spark: In the war for liberation, it’s OK to take mental breaks.

In fact, pleasure is necessary, especially for the regularly tortured Valentin who seems to have been numb for a long time. (Communist memoirs don’t stir the soul.) A hardline ascetic, Valentin won’t even alert the medics when he’s sick, in case they give him morphine.

The two roommates comically bicker about what scant pop culture Valentin knows, taking shots at “Raging Bull,” Meryl Streep and his own crass insistence that Ingrid’s character, Aurora, is frigid due to some kind of childhood trauma. (“Oh, God, let her be,” Molina sighs.) Yet, their conversation always pirouettes back to the gap between the real world and the movies.

“I hate to break it to you,” Valentine says, “but nobody sings in real life.”

“Well, maybe they should,” Molina huffs.

Maybe in confinement they can’t.

Condon smartly limits who sings and why and when. In the 1985 drama, which starred Raul Julia and William Hurt (who won the Oscar for Molina), both men remained trapped in this horrible dungeon and never sang a song. On Broadway, all of the characters — even cranky Valentin — crooned numbers the whole way through. But Condon draws a thick line between reality and fiction to highlight how much his leads need the freedom for radical self-expression.

“Kiss of the Spider Woman” is about a lot of things: Valentin reconnecting with his emotions, Luis discovering that he’s more than a self-described trivial sissy. (“I cringe every time you make fun of yourself,” Valentin growls.) But it’s fundamentally about those scenes in which the palette and polish of the film shifts and cinematographer Tobias A. Schliessler switches from handheld to Steadicam. The putrid chamber drama becomes a fantasia, befouled rags turn into tuxedo pants and it’s finally safe to belt how they feel.

Earlier incarnations of this story had activism as the end goal, Valentin for his principles and Molina for his new friend. Condon is more focused on their humanity. Caring for each other makes this bleak world worth fighting for. Without joy, we’re already in chains.

People will come out of “Kiss of the Spider Woman” gushing about Tonatiuh and with good reason. Striding confidently into his first starring role, the L.A.-born breakout talent is a bright new discovery with shining eyes and brash exuberance. He needs to be excellent for the movie to succeed and he’s pretty darned close, even pulling off a glib beat where Molina recoils from a battered man and quips, “If I looked like that, I’d want a bag over my head too.” There are scenes where he comes off arch and a little telegraphed, although in fairness, that’s also just who Molina is — performance is protection. And when Tonatiuh cowers from the guards, we get a hint of what Molina has suffered without Condon ever having to show the abuse.

To keep things faithful to 1983, Tonatiuh’s Molina doesn’t identify as transgender — the character sticks to the limited vocabulary of the time. But you see Molina’s subtle disappointment when Valentin, trying to be supportive, insists, “You’re not a monster, you’re a man.” And Condon has tweaked a climactic refrain, changing the pronoun to “Her name was Molina.”

Playing Ingrid-as-Aurora — the heroine of a film that, even its biggest fan admits, is “no ‘Citizen Kane’” — Lopez is shellacked under two layers of diva artifice. But at this point in her career, she’s suited to being an icon. She’s long since given up pretending she’s still Jenny from the Block, and Condon has shaped the role of Ingrid to her like a corset. You hear it in the line, “No matter how hard Hollywood tried to make her all-American, she never stopped being Latin” and more than that, you see it in Lopez’s delight as she flashes her legs and tosses her hair. She knows she can nail this role and she really hoofs it. There’s a wide-angle shot of a nightclub where Condon gives her and a dozen background performers a full, uncut minute to twirl. Most impressively, Lopez grabs a martini, slowly does a one-legged spin to the ground and then uncoils herself to stand back up and cheer.

She has a harder time commanding the screen in a third role, when Ingrid also acts the part of the sinister Spider Woman, a spiky-haired, taloned jungle goddess who smooches her prey to death. The movie’s stiff Spider Woman set pieces are a relic of the ’90s musical that put Chita Rivera in a massive web. Trapped in them, Lopez can’t do much more than a predatory grin. But it’s still better than how Condon’s “Chicago” chopped up its choreography into close-ups (and here, there’s still a few gratingly askew camera angles). The new film is the director’s penance: an apologia to musical lovers who want to see the star do every inch of the dancing.

Still, my favorite performance has to be Luna’s, whose Valentin is at once strong and vulnerable, like a mutt attempting to fend off a bear. He’s the only one who doesn’t need to prove he’s a great actor, yet he feels like a revelation. Watching him gradually turn tender sends tingles through your heartstrings. For his second role as Ingrid’s onscreen boyfriend, Condon resurrects a discarded number from the original musical where Luna croons about being “An Everyday Man,” his warm voice perfectly imperfect. Even when he’s grouchy and filthy, you get why Molina would imagine Valentin as the ideal romantic lead.

I don’t want to spoil the ending other than to say that Condon adds an exclamation point to his insistence on music as emancipation with a new scene set after the fall of the junta and its right-wing abduction squads. The camera looks down at the jail as the inmates spill into the courtyard. Then it pulls up for an aerial shot of the entire block. We see citizens flood the streets. We hear honking horns and spontaneous street music. The whole country is free to sing.

Edson Álvarez scored a tiebreaking goal in the 77th minute after a video review reversed an offside call, and Mexico beat the United States 2-1 on Sunday night for its record 10th CONCACAF Gold Cup title.

Chris Richards put the U.S. ahead in the fourth minute, heading in a Sebastian Berhalter free kick for the second time in the tournament, but Raúl Jiménez tied the score in the 27th with his third goal of this Gold Cup.

Mexico was awarded the free kick when Diego Luna fouled Alexis Vega on a flank. Johan Vásquez flicked the restart across the goal mouth and Álvarez burst past the defense, redirecting the ball from three yards just inside Matt Freese’s far post. While the play was initially called offside, the goal was awarded by the VAR, and Mexico defended its title from 2023 while improving to 6-2 in Gold Cup finals against the U.S.

Patrick Agyemang had a chance two minutes into stoppage time but he didn’t make good contact on his short-range shot that was blocked by goalkeeper Luis Malagón.

“We’re disappointed obviously to not come away with a win,” U.S. captain Tim Ream said.

A sellout crowd of 70,925 at NRG Stadium was about 70% pro-Mexico and booed U.S. players when they walked out for pregame warmups. Mexico dominated with 60% possession and had 12 corner kicks to none for the Americans.

This was the last competitive match for the U.S. and Mexico before co-hosting next year’s World Cup with Canada.

The U.S., which has seven Gold Cup titles but none since 2021, used a starting lineup with only a handful of players currently projected as World Cup starters, missing regulars because of vacation, injuries and the Club World Cup.

Coach Mauricio Pochettino used their absence to evaluate players who could push for starting jobs during the friendlies this fall and next spring, and Luna, Agyemang and Freese emerged as contenders for World Cup roster spots.

Richards put the U.S. in front when he headed Berhalter’s free kick from about 40 yards off the crossbar. The ball bounced straight down and just crossed the goal line.

Jiménez scored his 42nd international goal, third-most in Mexican history. He burst past the defense and one-timed the pass from Marcel Ruiz, beating Freese from about 10 yards on a shot that might have nicked Ream.

Jiménez celebrated by grabbing a Mexico No. 20 jersey with “DIOGO J” in honor of Diogo Jota, his former Wolverhampton teammate who died in a car crash Thursday in Spain. Jiménez ran to a corner, sat down with the jersey and mimicked playing a video game.

ST. LOUIS — Diego Luna scored twice in the first 15 minutes, and the United States hung on to beat Guatemala 2-1 on Wednesday night to reach its first CONCACAF Gold Cup final since 2021.

Luna put the U.S. ahead with a left-footed shot in the fourth minute, then scored with his right in the 15th for his third goal in two games.

Olger Escobar, an 18-year who was born in Lynn, Mass., cut inside and slid a shot from inside the area between Matt Freese and the far post in the 80th minute for his second goal of the tournament. Freese parried José Morales’ shot toward the far post in the second minute of stoppage time.

The U.S. plays defending champion Mexico or Honduras for the title Sunday at Houston, the Americans’ last competitive match before their World Cup opener next June. El Tri has won nine Gold Cups, the U.S. seven and Canada one.

The 16th-ranked Americans advanced to the Gold Cup final for the 13th time. All five losses in finals have been to Mexico.

No. 106 Guatemala, which has never reached the final, outshot the U.S. 13-1 in the last 30 minutes of the first half.

Luna got his first goal after Alex Freeman crossed for Malik Tillman. He touched the ball to Luca de la Torre, whose shot was stopped by goalkeeper Kenderson Navarro. Luna reacted quickly and switched the ball from his right foot to his left, then shot over Navarro’s outstretched right hand.

Eleven minutes later, Luna received a cross-field pass from Tillman about 40 yards out, dribbled in, got by defender José Carlos Pinto with a stepover and put the ball inside the near post from the edge of the penalty area.

Guatemala’s starters included a pair of former U.S. players: 29-year-old forward Rubio Rubin made seven appearances for the Americans from 2014-18 before switching in 2022 and 28-year-old defender Aaron Herrera made one in 2021 and then changed in 2023.

Rubin put the ball past Freese in the 29th minute, but the goal was disallowed for offside. Freese made a kick save on Rubin in the 34th.

SAN JOSÉ — The U.S. hopes a blowout win over the world’s 100th-ranked team can start to lessen the pessimism created by the Americans’ longest losing streak since 2007.

Malik Tillman scored twice and Diego Luna had a pair of assists in a 5-0 rout of Trinidad and Tobago on Sunday in the Americans’ CONCACAF Gold Cup opener.

“Really important I think to cut a little bit this — I don’t say negativity, but, yes … but it’s really important now to start the competition with a good feeling,” U.S. coach Mauricio Pochettino said.

Victory in the Group D opener ended a four-game losing streak and came after days of controversy over Christian Pulisic’s desire to rest during the Gold Cup and Pochettino not including the star in a pair of pre-tournament friendlies the attacker offered to play in.

Tillman scored in the 16th and 41st minutes for his first two international goals, both following giveaways by Alvin Jones, and Patrick Agyemang scored his fourth international goal in the 44th when Luna’s shot deflected off a foot.

“It was in our hands to show a reaction and I think we’ve done it today,” Tillman said. “We played a good game and it was nice to bounce back, have a good start to the tournament.”

Brenden Aaronson added his ninth goal in the 82nd and Haji Wright his fifth just 1 minute, 13 seconds later for the 16th-ranked Americans, who drew just 12,610 to PayPal Park.

“Malik is a talented player. It’s obvious that everyone can see,” Pochettino said. “October, November, when we met for the first time I think it was difficult to create this relationship that the player need(s) and the coach need(s) to trust and to trust each other. … I think now after a few weeks together I really start to understand him and he starts to understand us. And he’s very special, a very special talent and a very special kid.”

Luna, a 21-year-old who impressed Pochettino during his debut in January when he insisted he stay on the field with a broken nose, was playing not far from where he grew up and said he had gotten tickets for about 30 family and friends.

“Just an honor, right, to be able to dream about this day,” he said. “[To] start off a tournament like this back in my home city is awesome.”

Luna ran onto Jones’ back pass, dribbled down the left flank and crossed to Tillman for the second goal, then shot from just inside the penalty area for the goal that glanced off Tillman for a 3-0 lead.

“His performance was really good. He showed his character,” Pochettino said.

The Americans have won their group in 16 of 17 Gold Cups, along with a second-place finish behind Panama in 2011, and improved their group stage record to 41 wins, one loss and five draws. They play invited guest Saudi Arabia on Thursday at Austin, Texas, then close group play on June 22 against Haiti at Arlington, Texas.

Matt Freese was in goal in place of Matt Turner, who had started 14 consecutive competitive matches for the U.S. and 23 of 24 dating to the 2022 World Cup. The lone exception was a Gold Cup group stage game against St. Kitts and Nevis in 2023.

Pochettino said he wanted to create competition for Turner, who didn’t get into a Crystal Palace match after March 1. The coach said Turner told him he was disappointed with the decision but understood it and would compete to get playing time.