Luciano Tovoli is an italian cinematographer considered worldwide as one of the most brilliant film visual artists. While the majority of his titles are italian he has worked extensively in Paris and Hollywood.
Born in Tuscany some decades ago he abandoned the courses of Foreign Literatures in Pisa University and came to Rome to study cinematography in the famous italian film school Centro Sperimentale di Cinematografia where he met his longtime friend Nestor Almendros. His impressive films list includes Michelangelo Antonioni The Passenger (1975) starring Jack Nicholson, a film mythical for its legendary final sequence; Dario Argento’s Suspiria (1977), since ever appreciated and studied for the revolutionary use of the colors; Bread and Chocolate (1974), a bitter social comedy; or Julie Taymor’s Titus (1999), with the astonishing interpretation of Anthony Hopkins surrounded by an impressive expressionstic cine-photographic style.
Tovoli enjoys a particularly fruitful relationship with Barbet Schroeder already on five hollywoodian films (Reversal of Fortune, 1990), seven in total with Francis Veber (The Dinner’s Game, 1998, one of the most successful commercial achievements in the full french film history) and a privileged friendship with the master Ettore Scola with whom he teamed again recently for the seventh collaboration in Che strano chiamarsi Federico (2013), a film on the life of the legendary Federico Fellini. Also if it remains for Tovoli the only one experiment made in the directorial feature field (apart dozens of commercials where he lensed and directed) his film Il generale dell’armata morta / The General of the Dead Army, starring Marcello Mastroianni, Anouk Aimée, Michel Piccoli and Sergio Castellito as its debuts collected an anthusiastic critical acclaim and was presented in 1984 at the San Sebastian Film Festival