Kiss of the Spider Woman is a 1985 drama film, based on the 1976 novel of the same title by Argentine writer Manuel Puig. It is directed by Argentine-Brazilian filmmaker Héctor Babenco from a screenplay by Leonard Schrader, and stars William Hurt, Raul Julia, and Sônia Braga.
Guillermo Héctor Francella is an Argentine actor and comedian. Besides a long history of working as a television leading man, he also has a varied theatrical and film career. Francella is widely regarded by experts and critics of performance as one of the most influential and popular actors of his country.
María Cristina Lancelotti, better known by her stage name Valeria Lynch, is an Argentine singer and actress.
Libertad Lamarque Bouza was an Argentine actress and singer, one of the icons of the Golden Age of Argentine and Mexican cinema. She achieved fame throughout Latin America, and became known as "La Novia de América". By the time she died in 2000, she had appeared in 65 films and six telenovelas, had recorded over 800 songs and had made innumerable theatrical appearances.
Amelia Bence was an Argentine film actress and one of the divas of the Golden Age of Argentine Cinema (1940–1960).
Mecha Ortiz was a classic Argentine actress who appeared in films between 1937 and 1981, during the Golden Age of Argentine Cinema. At the 1944 Argentine Film Critics Association Awards, Ortiz won the Silver Condor Award for Best Actress for her performance in Safo, historia de una pasión (1943), and won it again in 1946 for her performance in El canto del cisne (1945). She was known as the Argentine Greta Garbo and for playing mysterious characters, who suffered by past misfortunes in love, mental disorders, or forbidden love. Safo, historia de una pasión was the first erotic Argentine film, though there was no nudity. She also played in the first film in which a woman struck a man and the first film with a lesbian romance. In 1981, she was awarded the Grand Prize for actresses from the National Endowment for the Arts.
Kiss of the Spider Woman is a 1976 novel by Argentine writer Manuel Puig. It depicts the daily conversations between two cellmates in an Argentine prison, Molina and Valentín, and the intimate bond they form in the process. It is generally considered Puig's most successful work.
Laura Ana "Tita" Merello was an Argentine film actress, tango dancer and singer of the Golden Age of Argentine Cinema (1940–1960). In her six decades in Argentine entertainment, at the time of her death, she had filmed over thirty movies, premiered twenty plays, had nine television appearances, completed three radio series and had had countless appearances in print media. She was one of the singers who emerged in the 1920s along with Azucena Maizani, Libertad Lamarque, Ada Falcón, and Rosita Quiroga, who created the female voices of tango. She was primarily remembered for the songs "Se dice de mí" and "La milonga y yo".
Roberto Escalada born Aldo Roberto Leggero was an Argentine actor, an icon of the classic era of Argentine cinema.
Libertad María de los Ángeles Vichich Blanco was an Argentine film actress, famous for starring in several erotic films during the 1960s.
Kiss of the Spider Woman is a 1983 stage adaptation by Manuel Puig's of his Kiss of the Spider Woman novel.
Kiss of the Spider Woman may refer to:
Betrayed by Rita Hayworth is a 1968 novel by the Argentine novelist Manuel Puig. It was Puig's first novel.
Heartbreak Tango is a novel by Argentine author Manuel Puig.
In the late 1840s, the Argentine Confederation attempted to regulate traffic on the Paraná and Uruguay rivers, which impacted upon Anglo-French trade with the landlocked Paraguay. As a result, Britain and France took military action in the blockade of the Río de la Plata. Although militarily successful, the victories against Argentine forces proved somewhat pyrrhic and both withdrew their forces and made treaties with Argentina. The peace treaty with the British is referred to as the Convention of Settlement; or the Arana–Southern Treaty.
Alan Pauls is an Argentine writer, literary critic and screenwriter.
Los martes, orquídeas is a 1941 Argentine black and white comedy film directed by Francisco Múgica and starring Mirtha Legrand, Enrique Serrano, Juan Carlos Thorry and Nuri Montsé. It won the Argentine Best Picture award for 1941. It was remade as the Hollywood classic You Were Never Lovelier (1942), starring Fred Astaire and Rita Hayworth.
María Elena Lucena Arcuri was an Argentine film actress of the Golden Age of Argentine Cinema (1940–60). She began her career in radio in the 1930s and reached her greatest success with the role of "Chimbela", which was later depicted in film, theater and television. Her extensive film career includes approximately 50 films, including notable performances in Chimbela (1939) and Una noche cualquiera (1951). During the 1940s, she participated in films with comedians like Pepe Arias, Pepe Iglesias "El Zorro", Niní Gambier, Mirtha Legrand and Carlos Estrada. Her most acclaimed film work occurred in Elvira Fernández, vendedora de tienda (1942) by Manuel Romero, Cinco besos by Luis Saslavsky and La Rubia Mireya for which she received the 1948 Best Comedy Actress Award from the Argentine Film Critics Association.
Suzanne Jill Levine is an American writer, poet, literary translator and scholar.
LGBT in Argentina refers to the diversity of practices, militancies and cultural assessments on sexual diversity that were historically deployed in the territory that is currently the Argentine Republic. It is particularly difficult to find information on the incidence of homosexuality in societies from Hispanic America as a result of the anti-homosexual taboo derived from Christian morality, so most of the historical sources of its existence are found in acts of repression and punishment. One of the main conflicts encountered by LGBT history researchers is the use of modern concepts that were non-existent to people from the past, such as "homosexual", "transgender" and "travesti", falling into an anachronism. Non-heterosexuality was historically characterized as a public enemy: when power was exercised by the Catholic Church, it was regarded as a sin; during the late 19th and early 20th centuries, when it was in the hands of positivist thought, it was viewed as a disease; and later, with the advent of civil society, it became a crime.
