Fantasy and Escapism
Like many of Puig's novels, Kiss of the Spider Woman explores the theme of escapism through fantasy. Molina, in particular, uses his recollections of classic films as an escape mechanism. He is especially captivated by melodramatic movies with strong romantic elements, which become the focal points of his retellings. On one level, Molina seeks to escape the oppression and monotony of his prison cell. He recounts these movies to Valentin to entertain them both during their long hours of confinement. For Molina, however, the films also provide an escape from the societal oppression he endures as a homosexual. Moreover, Molina identifies with the female characters in all of his movies, allowing him to escape his assigned male identity, as he prefers to envision himself as a woman. Initially, Valentin scorns Molina's romantic fixations; to Valentin, such fantasies are trivial and self-indulgent compared to his political ideals and activism. However, Valentin gradually becomes captivated by the movies and, consequently, forms a romantic relationship with Molina. Ultimately, Valentin fully succumbs to a world of escapist fantasy. After Molina is released from prison, Valentin is brutally beaten. In the hospital ward, an attendant mercifully administers a strong dose of morphine to alleviate his pain. In accepting the morphine, Valentin finally yields to the escapism he has resisted all along. The film concludes with Valentin's morphine-induced fantasy of romance in a dreamlike paradise, symbolizing the defeat of his political principles, which the prison authorities have effectively crushed.

Political Idealism
Puig explores the conflict between Marxist political philosophy and the inherent human desire to fulfill personal needs. Valentin, a character imprisoned for his revolutionary actions, starts the novel with a firm commitment to his political beliefs, placing them above personal relationships and physical desires. Despite his dedication, Valentin's idealism is contradicted by his love for an upper-class woman who symbolizes the oppressive enemy of the working class. This creates a tension between his emotions and his political stance. In contrast, Molina begins the novel as distinctly apolitical. As a homosexual, Molina does not engage in any political analysis of his marginalized position in society or seek social and political empowerment for homosexuals. Influenced by Valentin, Molina ultimately decides to sacrifice himself for Valentin's political cause by agreeing to pass on crucial information to Valentin's comrades once he is released from prison. Molina is aware that this commitment could cost him his life. While Valentin escapes into a morphine-induced hallucination, Molina rises to the level of political idealism that Valentin has long advocated. Nevertheless, Molina's sacrifice ends up being futile and achieves nothing.

Homosexuality
In this novel, Puig tackles homosexuality as both a social and political issue. The footnotes accompanying the main narrative provide a scholarly explanation of various psychological theories on homosexuality. Molina, a homosexual character, represents the oppression faced by homosexuals in Latin American society. Initially, Valentin, despite being a Marxist revolutionary, embodies the common prejudices against Molina's sexual orientation. He shows disdain for Molina, mocks and insults him, and even physically abuses him due to Molina's non-conformity to traditional masculine behavior. Over time, Valentin's attitude changes as he grows to love Molina, first as a friend and then as a lover. This transformation from an aggressively masculine man to one who loves another man forces Valentin to question and ultimately reevaluate his stance on homosexuality.