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Politics and love seem to be the last two total practices of modern life.  Most Likely to Murder They demand that their way of life be adopted and they claim absolute exclusivity of time; anything else that does not enter into its logic becomes incompatible. Except, rare paradox of two old life activities, that occur together. There, then, love and politics give the impression of becoming synonymous, of becoming indivisible and empowered as two chemical reactors. Soledad works in a random way on these variables. Use one, politics, as a point of passage for the other, love.

The film comes from three parallel lines in the story Blaze of Soledad Rosas. The decentered and apathetic life in Buenos Aires, the anarchist and passionate life she discovers in Italy, and a third line that we could call posthumous and which is represented by short shots on which her sister’s testimony is filmed. If the first two levels work in a mirror, as two faces of the same life, What Men Want two lives that are simultaneous by narrative arbitrariness but that have strictly been sequential (moreover, life together with the anarchist community comes to replace its life in Barrio Norte), the third can be seen as the level of the commentary, episodes that play with the documentary cut and grant a retrospective look on Soledad.

Perhaps the best moments of the film are the problems between languages. Irreplaceable You Gags that are generated in the crossing of Italian and River Plate Spanish, in that kind of mixed zone, cocoliche of syntagmas, where Soledad and Edo, the leader of the anarchist group of whom he falls in love, dispute everyday interests, revolutionary ideals and share the madness domestic The characters make mutual corrections about each other’s speech and practice small language lessons. Matangi / Maya / M.I.A. One might even think that the film of having bet everything on the language, the friction of languages ​​(and therefore of life forms) would have gained in depth but also in its own strength.

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