Gualino's took great interest in film, and in 1934 founded two film companies at about the same time, Lux francese and Lux italiana.

He collaborated with the musicologist Guido Maggiorino Gatti, who had directed the Teatro di Torino, on his first film, Don Bosco, directed by Goffredo Alessandrini.

His film business was helped by the contacts he had made with the intelligentsia in the 1920s, and helped him regain favor with the Fascist government.

Lux was at first mainly a distribution company, and while based in Turin made only three productions.

It was a subsidiary of Rumianca, and moved to Rome with its parent company in 1940.

Lux treated its employees as freelancers, hired for a specific project.
Lux had no studios, but leased premises as needed.

Equipment such as lights and cameras were rented from the Rome outlet of Mole Richardson.

Producers were invited to propose projects which Lux would fund up to a defined ceiling.

The studio imposed financial discipline while giving the producers considerable artistic freedom.

Lux also looked after distribution and exhibition, and targeted international markets with agencies in the United States and in different parts of Europe, South America and the Middle East.

From 1940 to 1944 Lux produced a number of well-received films, often based on literary texts.

After the war the studio was very active in production, working with its sister company Lux CCF (Compagnia Cinematografica Francese).

The Lux Film office at via Po 36 in Rome, known as Lucchessefilme to workers in the industry, was open night and day.
Gualino's office was inaccessible, on the third floor.

The artistic manager, Guido Maggiorino Gatto, had his office on the second floor.

The independent producers worked from the first floor, under the general manager Valentino Brosio.

Federico Fellini spent much time at Lux Films as a writer just after the war, where he met the playwright Tullio Pinelli.

Lux produced many successful neo-realist works directed by filmmakers such as Pietro Germi, Alberto Lattuada and Mario Soldati.

Lux producers in the early 1950s included Carlo Ponti and Dino De Laurentiis, who later branched out on their own, Antonio Mambretti, Luigi Rovere and Valentino Brosio.

From the early 1950s Gualino became less directly involved, delegating operations to Guido Gatti and to his son Renato Gualino.

However, Riccardo Gualino remained "head of studio" in the 1950s, and acted as both financier and producer.

Lux continued to use the system of packaged productions, but some individuals mainly worked for Lux projects.

In 1950 Gualino's son Renato wrote an article in which he said the producer was the "unique, coordinating force in realizing a film.
"Luchino Visconti, who directed Senso (1954) for Lux, referred to "the old Gualino, my producer, a really good man."

Surviving records show that Gualino made many suggestions about the script and scenes, with which Visconti often simply complied.

Gualino let his son serve as the studio's public face.

Renato was president of the National Producers Association for several years, and in the 1950s was president of the US branch of the Italian Film Export Association (IFE).

IFE cooperated closely with Lux.

At the end of the 1950s Lux ran into difficulties and had to be recapitalized.

Riccardo Gualino died on 6 June 1964 in Florence at the age of 85.

By this time Lux no longer made films, but had become purely a distributor.
Gualino's took great interest in film, and in 1934 founded two film companies at about the same time, Lux francese and Lux italiana.
He collaborated with the musicologist Guido Maggiorino Gatti, who had directed the Teatro di Torino, on his first film, Don Bosco, directed by Goffredo Alessandrini.
His film business was helped by the contacts he had made with the intelligentsia in the 1920s, and helped him regain favor with the Fascist government.
Lux was at first mainly a distribution company, and while based in Turin made only three productions.
It was a subsidiary of Rumianca, and moved to Rome with its parent company in 1940.
Lux treated its employees as freelancers, hired for a specific project. Lux had no studios, but leased premises as needed.
Equipment such as lights and cameras were rented from the Rome outlet of Mole Richardson.
Producers were invited to propose projects which Lux would fund up to a defined ceiling. 
The studio imposed financial discipline while giving the producers considerable artistic freedom.
Lux also looked after distribution and exhibition, and targeted international markets with agencies in the United States and in different parts of Europe, South America and the Middle East.
From 1940 to 1944 Lux produced a number of well-received films, often based on literary texts.
After the war the studio was very active in production, working with its sister company Lux CCF (Compagnia Cinematografica Francese).
The Lux Film office at via Po 36 in Rome, known as Lucchessefilme to workers in the industry, was open night and day. Gualino's office was inaccessible, on the third floor.
The artistic manager, Guido Maggiorino Gatto, had his office on the second floor.
The independent producers worked from the first floor, under the general manager Valentino Brosio.
Federico Fellini spent much time at Lux Films as a writer just after the war, where he met the playwright Tullio Pinelli.
Lux produced many successful neo-realist works directed by filmmakers such as Pietro Germi, Alberto Lattuada and Mario Soldati.
Lux producers in the early 1950s included Carlo Ponti and Dino De Laurentiis, who later branched out on their own, Antonio Mambretti, Luigi Rovere and Valentino Brosio.
From the early 1950s Gualino became less directly involved, delegating operations to Guido Gatti and to his son Renato Gualino.
However, Riccardo Gualino remained "head of studio" in the 1950s, and acted as both financier and producer.
Lux continued to use the system of packaged productions, but some individuals mainly worked for Lux projects.
In 1950 Gualino's son Renato wrote an article in which he said the producer was the "unique, coordinating force in realizing a film."Luchino Visconti, who directed Senso (1954) for Lux, referred to "the old Gualino, my producer, a really good man." 
Surviving records show that Gualino made many suggestions about the script and scenes, with which Visconti often simply complied.
Gualino let his son serve as the studio's public face. 
Renato was president of the National Producers Association for several years, and in the 1950s was president of the US branch of the Italian Film Export Association (IFE).
IFE cooperated closely with Lux.
At the end of the 1950s Lux ran into difficulties and had to be recapitalized.
Riccardo Gualino died on 6 June 1964 in Florence at the age of 85.
By this time Lux no longer made films, but had become purely a distributor.
Riccardo Gualino