A sunbaked Sicilian town in the summer of 1982 provides the vivid backdrop to this tender romantic drama about two teenagers who fall in love, but much to the disapproval of those around them. Gianni is a handsome but shy teen who works as a car mechanic at his stepfather’s garage but is mercilessly taunted by the macho townsmen for being a homosexual. With his family life no better, Gianni withdraws into himself until one day he meets Nino, a curly-haired boy with an infectious smile. As the two become close and fall in love, the moral rumblings from their families and neighbors begin to erupt. With all against them, the boys decide to make a stand.
"Sicily 1982, the dream of loving each other without fear"
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Brent Marchant
10/8/2023
6 / 10
Intolerance against members of the gay community has long been a theme in LGBTQ+ cinema, one that has become so common that it’s indeed familiar, if not overdone. However, when it’s set in a historical context, it can be valuable for illustrating how far this segment of society has come (and in a relatively short time, too), as well as a legacy instructional tool for younger members of the community. Such is apparently the intent behind writer-director Giuseppe Fiorello’s debut feature, a sincere effort at telling the fact-based story of a pair of teenage gay men (Gabriele Pizzuro, Samuele Segreto) in 1982 Sicily who face growing prejudice and harassment from locals and family members as their relationship begins to surface publicly. It’s a bittersweet heart-tugging tale of friendship, love, courage and undue bigotry that genuinely strikes a chord of sympathy with viewers. However, with a runtime of 2:13:00, it’s also needlessly long, especially at the outset, moving by at a snail’s pace that begins to grow tiresome by the film’s middle. The film also suffers from some uneven, inconsistent character development, making one wonder where some of its unexpected shifts in tone come from. Both of these issues are not entirely unexpected in the work of a first-time filmmaker, a creator who’s still learning about knowing when to “kill one’s darlings,” an error a little more than apparent here. Admittedly, the film finishes strongly in the final act, especially in its chilling conclusion. Nevertheless, the picture could have easily been cut by about 20 minutes without losing anything, and the director would have been wise to pursue that course (perhaps he will next time). It’s unfortunate that “Fireworks” ends up getting bogged down by its own narrative in light of the strength of its story and the importance of its message. We can never be reminded too much of where we’ve been so that we can avoid going back there again – and reliving the indignities that our predecessors had to endure.
Set against a backdrop of the 1982 World Cup, this is the story of the young “Nino” (Gabriele Pizzurro) who lives in Sicily. He is regularly bullied by the villagers and it’s assumed that he is gay. Nearby, “Gianni” (Samuele Segreto) helps his father run their fireworks business, a popular enterprise that manages to capitalise on the frequent religious festivals and fairs that take place across the island. The two meet after “Nino” has had the latest in a series of arguments with his stepfather and they have a near miss on their mopeds on the mountainous roads. After their introductions, “Gianni” helps to find him work in the local quarry that’s run by his uncle “Pietro” (Roberto Salemi). As the two start to hang out together, tongues in this rather small-minded community start to wag and prejudice starts to rear its ugly head. “Nino” is close to his mother “Carmela” (Fabrizia Sacchi) and it’s her well-meant intervention with the family of his new friend that brings things to an head amidst a community riddled with bigotry and irrational hatred. The two men deliver really quite poignantly here as auteur Giuseppe Fiorello gradually allows the story to evolve into something that’s fairly predictable, but it’s an attitudinal predictably that’s the potent element of this screenplay. A community of judgmental individuals who care little for the happiness of the two youths who are discretely falling in love. Sacchi delivers a considered effort here too as a mother conflicted by thinking what’s best for her son is necessarily the same as he does. This film shines quite an indicting light on an island mentality that, here, is Sicily - but it could readily reflect a multitude of rural communities where a mix of religious beliefs and intolerance can make the lives of gay people ostracising and even perilous. The denouement is interesting as it offers us a glimpse of hope but also reminds us that jealousy isn’t one of our more glorious characteristics either. The photography makes great use of the location and the light and the story, though not the easiest of watches, allows Pizzuro and Segreto to imbue quite a degree of amiable personality into characters with whom it’s very difficult not to engage with.
