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But Tovoli had been fascinated with the artistic potential of photography from a young age, and as a teenager was struck by the work of seminal French street photographer Henri Cartier-Bresson and the work of American modernist Paul Strand. He attained a diploma in cinematography at Rome’s Centro Sperimentale di Cinematografia in his early twenties, which led to an assistant’s job on Vittorio De Seta’s debut feature, Banditi ad Orgosolo ( Bandits of Orgosolo, 1960). Tovoli’s early career did not immediately suggest an artist destined for this legacy. In particular, the combination of prog-rock band Goblin’s iconic score with Tovoli’s hyperactive, saturated cinematography take centre stage in Argento’s most famous and celebrated movie. In practical terms, this hinges on the film’s oft-cited sensory assault, spawned from the one-two punch of sound and vision. Suspiria is one of the most radical horror films that has ever been made, and the precise reason for this is that it is unapologetic in the way it expresses horror and the way it demands the opening up of the viewer to take pleasure in things that they cannot describe. As encapsulated perfectly by film theorist and academic Patricia MacCormack on the 2010 DVD release of the film, Suspiria’s challenges and delights are one and the same: Recent rumours of a Tilda Swinton-fronted remake have set the Internet alight, and Suspiria’s influence manifests in texts as diverse as Darren Aronfsky’s Black Swan (2010) and the recent Japanese anime television series, Yuri Kuma Arashi. Made on the back of the phenomenal success of Argento’s 1975 giallo Profondo Rosso ( Deep Red), Suspiria – the tale of a young American ballet student who battles a witches coven in Germany – is one of the most famous and beloved European horror films ever made, and frequently appears on genre “best of” lists. Having shot the bulk of Schroeder’s most successful mainstream films (including Kiss of Death, Single White Female, and Reversal of Fortune), Tovoli’s other collaborators are equally impressive: Julie Taymore, Francis Verber, Liliana Cavani, and Walerian Borowczyk, amongst others. Tovoli’s work has spanned decades, nations, and genres, and today he is closely linked to Barbet Schroeder, a director with whom he has a lengthy collaborative relationship. But although very different movies, it was his creative collaboration on Dario Argento’s Suspiria in 1977 that most visibly reveals his driving passion for experimentation. Luciano Tovoli’s reputation as one of the great Italian cinematographers is commonly framed in reference to his work on Michelangelo Antonioni’s 1975 film, The Passenger.