Fireworks

This movie captivates the senses with its meticulously crafted visuals and poignant storytelling. Every frame of this film is a testament to the director's vision, blending realism with a touch of whimsy to create an immersive experience. The deliberate pacing and composition of each shot invite the audience to engage deeply with the narrative.

The characters are portrayed with authenticity that resonates with the times, making their journeys all the more compelling. The natural performances by the cast add a layer of sincerity to the narrative, further drawing the viewer into the world of the film. The editing complements the storytelling as well. Every frame has a purpose.

The cinematography is truly exceptional, with each shot crafted to convey both intimacy and artistry. The setting of 1980s Italy, depicted with golden hues and a nostalgic atmosphere, adds a layer of charm to the film.

Firework is strange. We take risks with what is potentially dangerous, and turn them into something beautiful. The explosion of gunpowder, rocket propelling skyward, to the stunning array of colors within.

While asking "what's your favorite color?" is considered a cliché for a first date, we commonly associate colors with our emotions. I believe it's because we experience life through a spectrum of colors from our earliest moments, from picking up our first crayon to gazing in awe at fireworks. When we take the time to delve deeper and ask why someone favors a certain color or what memories it evokes, we uncover a trove of life experiences, nothing less than a carefully crafted questions.

Love is strange. We take risks with what is potentially dangerous, and turn them into something beautiful. Now do i only understand that love is like firework, and it is the most powerful declaration of emotions.

Just like how Gianni and Nino's love ignited the establishment of the world's first Arcigay Association.

In the words of its director, Giuseppe Fiorello, a veteran actor here making his first film as director, "Fireworks" is a reimagining of a true, and tragic, event that occurred in a an emotionally straitened Sicily in the early 1980s. At the U. S. premiere this afternoon at Film at Lincoln Center, he stated that he made it not from any generic ambition to become a director, but from an urgent need to tell this specific story, and to tell it sincerely and without any genre encumberments - there is no post-facto investigation of the events, and no trial of the accused - only the events themselves, as seen mainly through the eyes of the two young protagonists, Gabriele Pizzuru and Samuele Segreto, who are both magnificent in their openness and spontaneity. Fiorello wanted, he said, to make this film to be about, above all, the "delicacy of adolescence" ("and we all have been adolescents," he added), and in achieving this, he chose well.

The tale unfolds in small-town Sicily, at a time of Vespas, lire, and bellbottoms, with the 1982 FIFA World Cup as background (Italy's victories, played out locally on ancient TV screens, punctuate the action). While there are a few lovely seashore settings, this is not the Sicily of postcards, of the streets and cathedrals of Palermo or the majesty of Mt. Etna. This is a place where the earth is bruised by a huge quarry and where there is constant censure and bullying by a community of small minds, the better to enforce a stifling conformity, drawing on Mafia thugs to beat it into errant neighbors if all else fails. All this is portrayed by an ensemble cast that includes what seem like quite a few local amateurs. (For greater authenticity, the film is in the Sicilian language, with only occasional, and brief, code shifts into Italian - even the original title, "Stranizza d'amure", is in Sicilian. I assume the film must have been shown in Italy with subtitles.) In the Q&A, the still very boyish leads emphasized how working as part of such a collective of more experienced actors was deeply enriching.

There are sequences that seem a bit overstaged (again, this is a début film), but this matters less and less as the boys meet by accident (literally, in a motorbike collision - too cute? Possibly, but very nicely done), and form an instant friendship that moves on to what,, in this setting, becomes far more perilous. Gianni is absorbed into Nino's welcoming extended family, and eventually joins Nino in his father's fireworks business (hence the English title). The intensity of all the many intersecting relationships increases bit by bit, reaching an almost unbearable level, until the hammer blows of local reality strike unforgivingly.

Bring plenty of Kleenex for this one, but, with its powerful social and dramatic subtext, the film is something far more moving and meaningful than any simple weepy could ever be. Is it a bit operatic? Yes, for sure, but, as at the end of any decent performance of Mascagni's Sicilian masterpiece, you wipe away your tears and jump up to shout Bravo - as the audience this afternoon indeed did. May the fickle gods of U. S. distribution get this terrific gem onto as many screens as possible!

Humankind is not fit for any redemption, no not even in a million years. We are jealous, greedy, nasty and just can't see another person happy. Gianni and Nino just two beautiful souls, will be together in each others arms, remembering their eternal pure love. It was heartfelt that Gianni was never treated the way he was or the way Nino was. Beautiful film so naturally played out and they have made this their own story. No one could have played it better. I was in tears in the end and wish more maturity among parents and civilization to let live and give space for love to flourish. Ah what a pity the civilization rides to oblivion without a heart.

As a Sicilian origins I knew the story but I didn't expect to watch such a finest way to describe it.

This movie it's absolutely well made.

I got immediately in "nostalgia" mood from the first. Everything is well cured, photography, sound, light, costume, words, gestures, expressions. I could almost smell the tomato sauce, the coeffee on the table, the dry grass in the summer, the cicadas, the smell of the fireworks, even if the "carne simmenthal" with the lemon... Yes, it was really hard to watch the story, no easy/cheesy tears or stereotypes as you can expect but the movie gives to you a kick in the stomach, given by the ignorance, the lack of empathy and cruelty of the disgraced human being...and lot of anger.

For this reason the story its not only about homofoby.

Even if the direction seems to be quite light, silence, untold words, I can see the contrast with the real drama that seems coming from the narrative of Giovanni Verga, verist, realist, humble, pure and cruel as life unfortunately can be.

Beside all there's a delicate touch of innocence, a smile, a look, a "stolen kiss" and lot of silence full of meanings and understanding.

..."Quello che si fa di nascosto si può fare per cent'anni"...but shouldn't be like that!