This foray into film was unsuccessful, though Soto became increasingly prominent as a stage actor and was soon invited to become a part of the prestigious San Martín Municipal Theatre's retinue.
[1] A then little-known local documentarian, Eliseo Subiela, cast Soto in the lead role for his 1986 adaptation of an Adolfo Bioy Casares novella, Morel's Invention.
[2] A minor role that year Beda Docampo Feijóo's The Loves of Kafka was followed by his reuniting with director Eliseo Subiela and Man Facing Southeast co-star Lorenzo Quinteros in the moody Last Images of the Shipwreck, in 1989.
He contributed a supporting role in (I, the Worst of All) - María Luisa Bemberg's ode to the reformist 17th century Mexican nun, Sor Juana Inés de la Cruz - and in 1991, he was cast by Fernando Ayala in his gently comic look at social mores in Argentina, Dios los cría (In God's Hands).
The film, Ayala's last, was a frank look at both a gay man's struggles with his mostly conservative neighbors and at bisexuality: Soto's character, Ángel, is attracted to both a male co-worker at the bank and a kind-hearted prostitute, with whom he elopes.