Having been robbed of his moped and his sneakers, Lucio wanders aimlessly around Buenos Aires at night, barefoot. He is not having much luck: the shoes a friend gives him are too small and the 100-peso note he wants to pay the bus fare with turns out to be a forgery.
Banal conversations follow, at home with his parents, with his friend on the street; playing games in the arcade. And who had Lucio’s digital watch again? He hides his parents' hacksaw under his bed. In vain, he tries sawing through the lock on another moped.
In 1992, Rapado unleashed a real sensation within Argentine and Latin American cinema; finally a film about the present, instead of a political historical film. In Rapado, Martin Rejtman created a style completely his own, followed by a wave of innovative cinema in the late 1990s and early 2000s. Rejtman himself went on to make e.g. Silvia Prieto and The Magic Gloves.