Lumiton is a former film production company and current museum located in Munro, Buenos Aires, Argentina. Lumiton Studios was founded in 1932 at the start of the Golden Age of Argentine cinema. Its lowbrow, populist films appealed to local audiences and were highly successful in Argentina and throughout Latin America. It was the main competitor to Argentina Sono Film in the 1940s.

After World War II (1939–45) Lumiton faced increased government regulation, rising costs and loss of audiences to more sophisticated Hollywood productions. The company was forced to shut down in 1952.

Lumiton was founded in the town of Munro, Buenos Aires, with an initial capital of 300,000 pesos. The name "Lumiton" is made from the words for "light" and "sound". The full name was "Sociedad Anónima Radio Cinematográfica Lumiton" (Lumiton Radio Cinematography Company Ltd.) The founders had earlier pioneered radio broadcast in Argentina, and were now pioneering sound films. They had made one of the first radio broadcasts in the world in August 1920 from the Teatro Coliseo in Buenos Aires. They were César José Guerrico, Enrique T. Susini, Luis Romero Carranza and Miguel Mujica. The first Lumiton studio was built with a modern laboratory and technical facilities on property owned by Isabel Zeller de Lehan. A complete crew was hired in the United States. This included the director of photography John Alton, and the sound designer Lazlo Kish.

The state was not involved in the film industry, either directly or through subsidies. Without the same bargaining power as the big Hollywood studios, the local studios could not demand a share of receipts from the distributors, but had to sell their films for a flat rate and therefore had to keep costs and capital expenditures to the minimum. In the early years, Lumiton's audience was struggling with the effect of the Great Depression of the 1930, but the cheap and lighthearted productions perhaps helped people escape from their problems.

There are distinct regional dialects in Latin America. Castilian Spanish is often not easy for local people to understand. Subtitling would not work with the audiences of the 1930s, many of whom were semi-literate. This created demand for locally produced sound films. Lumiton employed local actors experienced in radio or popular theater. Although locally made films were not as technically slick as those from Hollywood, films with local actors, themes and settings appealed to local audiences. Lumiton became known for its lowbrow tango films. Carlos Gardel (1890–1935) made tango popular throughout Latin America, and this created a large export market for Lumiton's films.

Lumitron began operation on 17 December 1932, producing several test short films. The logo and opening sequence of each film featured a huge gong sounded by Michael Borowsky, the main dancer of the Teatro Colón. Lumiton's first feature was Los tres berretines (The Three Hobbies, 1933) directed by Enrique T. Susini and starring the local actors Luis Sandrini and Luisa Vehil. Alton was not credited but may have played and important role in direction and cinematography. Los tres berretines was released on 19 May 1933. The film cost 18,000 pesos and earned over one million. The film depicted a family whose members were obsessed with the three national "berretines" (interests or hobbies) of tango, football and cinema. Sandrini's performance made him the first local cinema star.

In 1935 the director Manuel Romero joined the studio. He made one of Lumitron's great successes, the musical Noches de Buenos Aires (Buenos Aires Nights, 1935), with Tita Merello and Fernando Ochoa. He also directed the musical El caballo del pueblo (The Favorite). His next film for Lumiton, La muchachada de a bordo (Boys on Board, 1936), was a major popular success. Romero made populist genre films for Lumiton including the film noir Fuera de la ley (Outside the Law, 1938), the romantic comedy La rubia del camino (The Blonde on the Road, 1938) and Mujeres que trabajan (Women Who Work, 1938). Mujeres que trabajan included Niní Marshall in her first film role. It was unusual in depicting women in the workplace, but otherwise was a conventional romantic melodrama. Marshall emerged as a strong and original comedian, and starred in a series of Lumiton films in the years that followed.

Romero was the main film director for Lumiton until 1943, and directed over half the studio's films. Formerly a tango lyricist and musical variety show director, he turned out cheerful and predictable comedies aimed at working class audiences. Romero always treated the working poor as a dignified community deserving respect. The critics looked down on his work, with its melodramatic plots and happy endings, but the films had great appeal to his audience. These successful films, and those of other Argentine studios in the época de oro (golden age) spurred Hollywood to produce Spanish-language films for the Latin American market, but without much success.