Sônia Braga and Raúl Julia in Kiss of the Spider Woman
When Walter Salles’ acclaimed family-political drama I'm Still Here / Ainda Estou Aqui secured a Best Picture nomination at the Academy Awards this year, it marked a significant moment for Latin American cinema. But before its arrival, Kiss of the Spider Woman / O Beijo da Mulher Aranha (1985) had already made history as the first Brazilian—and Latin American—co-production to be nominated for Best Picture, paving the way for stories that challenged conventions and brought LGBTQ+ narratives to the forefront.
Directed by Argentine-born Brazilian filmmaker Héctor Babenco and produced by American filmmaker David Weisman, the U.S.-Brazilian English-language co-production was an adaptation of Argentine author Manuel Puig’s fourth novel. Featuring an international cast and crew, the film was shot in São Paulo and became a landmark in both independent and Latin American cinema.
Kiss of the Spider Woman was a bold, unconventional film for its time, blending political intrigue with a deeply personal story of love, identity, and survival. The film starred William Hurt as Molina, a queer man imprisoned in an unnamed Latin American country, and Puerto Rican actor Raúl Juliá as Valentín, a revolutionary with unwavering ideological convictions.
Brazilian actress Sônia Braga—the breakthrough star of Dona Flor and Her Two Husbands—played a pivotal role as both Molina’s romantic ideal—the glamorous, elusive Spider Woman—and Leni, the star of the escapist films he recounts to endure his imprisonment. What begins as an uneasy relationship between cellmates gradually transforms them both, forcing them to question their beliefs and embrace a fragile sense of intimacy within the brutal confines of their reality.
Despite its modest budget and independent production, Kiss of the Spider Woman broke barriers. The film premiered in the official Palme d’Or competition at the Cannes Film Festival and made history as the first independent film ever nominated for an Academy Award for Best Picture. It also earned Héctor Babenco a nomination for Best Director, making him the first Latin American director to be nominated in this category. The film marked a milestone with William Hurt’s Oscar win for Best Actor—the first time an openly queer role earned the honor. The film’s success became a pivotal moment for LGBTQ+ representation in mainstream cinema, proving that such stories could resonate with both audiences and Academy voters alike.
Puig’s novel—later adapted by the author himself into a stage play—along with Babenco’s film, inspired a Broadway musical of the same name in 1993, starring Chita Rivera. A new movie version of the Broadway production, directed by Bill Condon, premiered at the Sundance Film Festival last January, starring Jennifer Lopez, Tonatiuh, and Diego Luna.
Nearly four decades later, I’m Still Here follows in the path laid by The Kiss of the Spider Woman’s groundbreaking Oscar nomination, marking another monumental achievement for Brazilian cinema at the Academy Awards. Both films—despite their different contexts—share a common thread: they represent the resilience of Latin American storytelling, pushing boundaries and offering a platform for diverse narratives.
