Sandro Puleo

Fireworks (originally Stranizza d'amuri) is a deeply moving portrait of love, identity, and injustice, set in 1980s Sicily—a land of beauty scarred by prejudice. Inspired by a true story, Giuseppe Fiorello’s remarkable debut brings to light a love that was met not with silence, but with hostility, fear, and collective intolerance. Samuele Segreto and Gabriele Pizzurro are stunning in their roles—vulnerable, brave, and deeply human. Their bond is the beating heart of the film, surrounded by a cast that vividly embodies the world around them. More than a coming-of-age tale, this film is a cry against homophobia, a tribute to lives and loves lost to ignorance and hate, and a reminder that love—no matter how persecuted—cannot be erased. Fiorello’s debut is not only cinema; it is memory, justice, and an act of truth. There are films that leave a trace, and then there are films that become a part of you. Fireworks (Stranizza d'amuri) is one of those rare works.

Amar Prem Ki Prem Kahani is a complete disaster in the name of representation Bollywood’s struggle with authentic LGBTQ+ storytelling continues, and Amar Prem Ki Prem Kahani is yet another glaring example. Directed by Hardik Gajjar, this film attempts to tell a same-sex love story but fails spectacularly in every aspect—script, acting, direction, and execution. The story follows Amar (Sunny Singh), who, after getting engaged to a woman, realizes his love for Prem (Aditya Seal). What could have been a heartfelt exploration of love and self-acceptance turns into an uninspired, shallow, and painfully awkward romance. The script is lifeless, the dialogues feel unnatural, and the performances are robotic. Singh and Seal lack chemistry, making their relationship feel forced and unconvincing. The supporting characters are clichéd, adding nothing to the narrative. Hardik Gajjar’s direction lacks vision, with melodramatic sequences that fail to evoke emotion. The cinematography is forgettable, and even the soundtrack—usually Bollywood’s saving grace—is bland and misplaced. But what’s truly baffling is how many viewers are willing to overlook these glaring flaws and praise what is clearly a mediocre film. Representation alone isn’t enough; it needs to be done well. Like Shubh Mangal Zyada Saavdhan and Dostana, this film pretends to be progressive but ultimately reduces LGBTQ+ representation to a caricature. Gays in India deserve better. Audiences deserve better. Rating: 0.5/5 – A film best forgotten.

This movie is amazing. So well done. The story, the score, the performances of the actors, simply everything. Among the actors Nicolas Bauwens - the young Jonas - stands tall, he really impressed me the most. I watched the movie twice, and I found it even more beautiful the second time. 10 out of 10.