"Kiss of the Spider Woman (Movie)" Lyrics

"Kiss of the Spider Woman (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

Can a prison drama and a Technicolor dream share one heartbeat? Bill Condon’s 2025 film answers by braiding Kander & Ebb’s songs with a restrained new underscore. The album—released ahead of the theatrical bow—spotlights Jennifer Lopez as the film-diva/Spider Woman (triple-role), with Tonatiuh as Molina and Diego Luna as Valentín. It’s a movie-musical that toggles between two visual grammars and two musical temperatures: gritty cell-life and glam fantasy.

On disc, familiar stage numbers (“Her Name Is Aurora,” “I Do Miracles,” “Kiss of the Spider Woman”) sit alongside film-restored songs that predate Broadway’s final version (“I Will Dance Alone,” “An Everyday Man,” “Never You”), while Sam Davis’s score glues the worlds without stealing focus. According to Playbill and label notes, Lakeshore issued the soundtrack October 3, 2025, with CDs and vinyl following later that fall; the film opened wide October 10, 2025.

Questions & Answers

Is the 2025 album mostly songs or score?

Mostly songs from the Kander & Ebb musical performed by the cast; the incidental underscore is by Sam Davis.

Were new numbers added for the film?

Yes. The film restores early-cycle Kander material (“I Will Dance Alone,” “Never You,” “An Everyday Man”) alongside the core score.

Who produced the soundtrack release?

Matt Sullivan is credited as album producer/music supervisor; Lakeshore handled the release.

Who sings the title song?

Jennifer Lopez performs “Kiss of the Spider Woman”; it was previewed as a promo single before the album dropped.

When did the movie open?

U.S. theatrical release: October 10, 2025 (after a Sundance premiere in January).

How does this relate to the 1985 film?

This is a screen adaptation of the 1993 stage musical (itself from Puig’s novel), not a remake of the 1985 non-musical score film.

Notes & Trivia

• Director Bill Condon emphasized long takes and minimal cutting in musical sequences; several numbers were captured in single takes.
• Lopez plays three facets—Ingrid Luna, Aurora, and the Spider Woman—each with distinct vocal styling.
• The film uses shifting aspect ratios between prison reality and fantasy set-pieces.
• Promotional singles rolled out ahead of release: “Kiss of the Spider Woman,” “Never You,” and “She’s a Woman.”
• Artists Equity (Affleck & Damon) is among the producing entities; Roadside Attractions handled U.S. distribution.

Genres & Themes

Show-tune classicism → Glamour as refuge. Brass and strings swing big in Aurora numbers; the harmony deliberately quotes MGM-era language.

Chamber underscoring → Intimacy and cost. Davis’s cues (piano/strings/pads) keep the cell world small enough to hear breath and doubt.

Latin color & dance pulse → Identity not ornament. Rhythmic inflections in choreography-forward cuts underline Molina’s gaze and Aurora’s “movie-within-the-movie” grammar.

Tracks & Scenes

“Her Name Is Aurora (Staff/Gala)” — Jennifer Lopez & Ensemble
Scene: First fantasy incursion: Molina narrates the diva; curtains billow, spotlight blooms, and the prison walls “dissolve.” Non-diegetic within the film’s reality, diegetic inside Molina’s movie; early act.
Why it matters: Establishes the cross-cut grammar—dialogue to song without a seam.

“She’s a Woman” — Tonatiuh
Scene: Molina tries on bravery through performance language; the camera stays close as masculinity and self-image blur. Non-diegetic fantasy tag; mid-act.
Why it matters: A character reveal in satin—defiance via phrasing, not speech.

“I Do Miracles” — Jennifer Lopez
Scene: Aurora’s floor show with chorus: silver staircase, mirror kicks, and an audience that cheers within Molina’s head. Diegetic in the fantasy; mid-film.
Why it matters: Pure diva grammar—condensed charisma that explains her grip on Molina.

“A Visit” — Lopez & Tonatiuh
Scene: Spider Woman circles Molina in a cat-and-mouse pas de deux; choreography reads like a bargain. Non-diegetic fantasy pressing on real stakes.
Why it matters: Temptation cue that previews the ending’s moral price.

“Gimme Love” — Lopez, Tonatiuh & Men
Scene: Fantasy-cabaret turns confrontational; brass hits puncture a jealous spiral. Diegetic-in-fantasy; late act.
Why it matters: The dream curdles—as intended—before the cell world snaps back.

“Never You” — Jennifer Lopez
Scene: A newly restored ballad: Aurora sings refusal that sounds like longing; long lens, no cuts for a stretch. Non-diegetic fantasy; late act.
Why it matters: One-take hush that modernizes the show’s emotional geometry.

“An Everyday Man” — Lopez & Company
Scene: Film-only reinstatement built as a glossy studio number; Aurora frames ordinary desire as cinema myth. Diegetic; late act.
Why it matters: Reclaims a pre-Broadway idea with the resources of a movie musical.

“Kiss of the Spider Woman” — Jennifer Lopez
Scene: The emblematic seduction: a literal web of light, elongated lines, a final stillness. Diegetic in fantasy; climactic.
Why it matters: The thesis song—beauty weaponized.

“Only in the Movies” — Tonatiuh & Company
Scene: Curtain-call logic within the diegesis; Molina’s story-world says goodbye. Non-diegetic tag into credits.
Why it matters: Closure without erasing consequence—fantasy remains a tool, not a lie.

Music–Story Links

Each Aurora number rewrites the scene that preceded it. When Valentín hardens, the next fantasy softens; when Molina risks honesty, the fantasy sharpens. The score’s quieter cues keep the politics specific (names, bruises, hunger). Songs are not pauses but arguments the characters can stand to hear.

How It Was Made

Songs by John Kander & Fred Ebb (with Terrence McNally’s story frame); score by Sam Davis; music supervision/album production by Matt Sullivan. Condon shot several musical passages in extended takes; the film premiered at Sundance (January 26, 2025) before its October rollout. The trailer campaign centered on Lopez-led numbers and the restored songs.

Reception & Quotes

Reviews singled out the musical sequences and Lopez’s triple-role turn, while box office underperformed relative to budget; awards chatter focused on Supporting Actress prospects.

“A visually sumptuous web… Lopez’s numbers are the film’s showstoppers.” review roundups

“Condon lets songs breathe in long, dancer-friendly takes.” industry coverage

Additional Info

• Release cadence: Soundtrack Oct 3, 2025 (digital); CDs Nov 21; vinyl Dec 19.
• Singles: “Kiss of the Spider Woman” (Sept 5), “Never You” (Sept 19), “She’s a Woman” (pre-release clip).
• Premiere path: Sundance (Jan 26, 2025) → U.S. theaters (Oct 10, 2025).
• Distribution: Roadside Attractions (U.S.).
• Edition differences: Film trims several non-diegetic stage numbers; reinstates pre-Broadway material.

Technical Info

• Title: Kiss of the Spider Woman (Original Motion Picture Soundtrack)
• Year / Type: 2025 / Film musical soundtrack
• Songs: John Kander & Fred Ebb
• Score: Sam Davis
• Album Production & Music Supervision: Matt Sullivan
• Label: Lakeshore Records (with Center Stage Records credit noted in press)
• Key placements (film): “Her Name Is Aurora,” “She’s a Woman,” “I Do Miracles,” “A Visit,” “Gimme Love,” “Never You,” “An Everyday Man,” “Kiss of the Spider Woman,” “Only in the Movies”
• Film credits anchor: Director/Screenplay Bill Condon; Cast Jennifer Lopez, Tonatiuh, Diego Luna; Cinematography Tobias A. Schliessler; Editing Brian A. Kates

Canonical Entities & Relations

Sources: Playbill report and label notes; official trailers and site; soundtrack listings on Spotify; Reuters/Variety features; review roundups and distributor notices.

November, 12th 2025