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[title]More than four decades after its publication, Kiss of the Spider Woman is reinvented once again—this time with Hollywood DNA, musical numbers, and a high-voltage cast led by Jennifer Lopez and Diego Luna, under the expert direction of Bill Condon. Based on Manuel Puig’s novel, this new version will not only arrive in Argentine cinemas on January 8, but also had a high-profile premiere as the opening film of the 40th Mar del Plata International Film Festival, the only A-class festival in Latin America. At this powerful crossroads between a deeply Argentine story and an international superproduction stands Josefina Scaglione, in a role that inhabits the territory of fantasy, desire, and emotional intimacy. We spoke with the Argentine actress about identity, belonging, the vertigo of Hollywood, and what it means to be part of a film that once again brings a story as necessary as it is uncomfortable to the forefront.
Kiss of the Spider Woman is a story born here, but this version has Hollywood DNA. What was it like to stand at that intersection between such an Argentine work and an international production of this scale?
For me, acting is about opening a channel—the same one always—and being there, fully present for whatever the material requires of me. It was stimulating and very interesting to do so with the awareness that I’m Argentine, that this story also belongs to me. Manuel Puig dared to write a bold, provocative novel at a very intense and painful moment in our history, awakening hearts and also the fury of censorship. I felt deeply honored to be there, to be able to add my interpretation to this story.
"I felt deeply honored to be part of the film and to contribute my interpretation to the story"
When a story enters the Hollywood machine, something always transforms. What do you feel Kiss of the Spider Woman gained—and what it almost lost—along the way?
I don’t know if it’s about winning or losing; I think works transform, mutate, and are reinterpreted. That’s precisely what’s interesting about revisiting a work that’s already been done: rereading materials over time and through the continued relevance of certain themes. Puig dared to speak very bluntly about what remains an open wound in our collective memory. As with any new take on an original work, it will spark different feelings and opinions, but I believe Bill Condon managed to convey the essence of the piece, give it beauty, and pour all of Hollywood’s spectacle into the universe that Molina narrates in each film he tells Valentín about.
You share the screen with figures like Jennifer Lopez, Diego Luna, and Tonatiuh Elizarraz, and you already have experience in international productions. What made this project feel special nonetheless?
Beyond previous international experiences, every project is special. As I mentioned before, it was very moving to be Argentine—several of us involved in the film are—and there’s a sense of belonging, even of responsibility, I’d say. It was also very special to work with the director, Bill Condon, who had seen me years ago in the musical West Side Story and already knew my stage work. Being able to work for the big screen with such an intimate and beautiful piece of material was, without a doubt, unforgettable.
Your character lives more in the realm of fantasy, cinema, and desire than in the realism of the prison. What was the most challenging part of inhabiting that world without it becoming just sparkle and spectacle?
Well, Marta is actually a very real character—she is Valentín’s love, and she exists outside the prison. However, in the film she’s the only character who appears inside the cell, almost like a reverie. Still, the language we worked with was very direct and simple, so there was no pursuit of sparkle or spectacle in the acting itself—that was all taken on by the goddess J.Lo in her scenes.
After Kiss of the Spider Woman, what challenges are you eager to take on? Is there something—a genre, a character, a way of storytelling—you feel you haven’t explored yet and that’s starting to call to you?
I’d love to do more film work, let life keep surprising me, take on personal projects I have lined up for this year, and keep following my desire and my curiosity.
Quickfire with Josefina Scaglione
A moment from the shoot you’ll never forget
The recording session at the studio for the song “I Do Miracles” (part of the original soundtrack, already available to listen to) was wonderful. I really enjoyed the joint work between musical direction (Matt Sullivan) and acting direction (Bill Condon).
Something that surprised you about working with Jennifer Lopez
Even though we sing together, we didn’t work directly with each other because our scenes take place in separate shots. But we met at the film’s screening at the Sundance Film Festival, and even though she’s the star of the movie, it was really nice to feel her warmth and her sense of teamwork. We chatted a bit about what we’d seen, and we were both very happy with how our voices sounded together.
Diego Luna in one word
A sweetheart! When you work with someone that professional, everything becomes easy and the magic happens.
Hollywood vs. musical theater: what does each gain and lose?
Hollywood perhaps gains more possibilities in how stories are told, more spectacle, and broader reach to audiences around the world. Musical theater—or any live art—gains in impact for those who experience it. It’s always the same but different every time, and that’s a gift both for the audience and for the performers.
An Argentine talent shining abroad who excites you
Friends, colleagues—so many people working and paving the way. To name a few in the musical theater world: Guido Balzaretti in Spain, Maia Reffico in the United States. Argentine talent everywhere.
A character you’d still love to play
Sally Bowles!
When everything gets very big, what brings you back to center?
My home, my family, my pets, everyday life.
If this film were a song, which would it be?
Every song on the soundtrack is beautiful—it’s impossible to choose.
Kiss of the Spider Woman in three words
A necessary story.