Argentinian tango couple of the twentieth century, María Nieves Rego and Juan Carlos Copes, enjoy OUR LAST TANGO while offering separate accounts of their fifty year relationship and how it came to an end. Born into a poor family, Maria first fell in love with the tango over the radio, dancing with a broom with now notion of the actual movements or how to dance with a partner. Going out to a milonga with her older sister, she met Juan who could not dance and was learning the tango by treading on a lot of partners' feet. After making an impact on her, he disappeared for a year and then reappeared at the Club Atlanta an elegant dancer. They partnered up for a couple years on the dance floor of the club before rock music replaced the tango, but Juan was driven to innovate the dance and bring it to wider audiences, training dancers and taking performance to the stage to even public parks from the Argentinian streets to Broadway. Maria knew she was not alonein Juan's affections but she never thought of another partner (Juan says he never belonged to her although she belonged to him). Things began to fall apart after their Las Vegas marriage which was not recognized back home, and not by Juan either who trained other women and took other dancers on tour. Maria found affection in the arms of another, but when Juan came back, she chose the tango over love. There comes a point at which it becomes too painful for Maria to continue talking about it after she learned that Juan had a child with another woman (who Juan credits with saving him from his inner turmoil), telling us that "time passes" and the filmmakers "You can make up something, if you like." Intimate and sincere-seeming talking heads of the two dancers is intercut with gorgeous, avant garde recreations of the era with younger actors/dancers not only dancing the tango in the context of performance but also in conveying the dramatic turns of narrative. Unfortunately, a pretentious third and fourth layer are added to this structure in which Maria is interviewed by the actors playing her and Juan in which the actors seem more interested in how they look on camera than in really relating to her, as well as scripted-seeming sequences in which the actors and the filmmakers offer their interpretations of the couples' feelings and motivations (each seeming to have come up with a profound remark or two which they shoehorn into a sort of abstract discussion of people talking more to the camera than each other).