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Alfredo's Fire > objective
"Homosexuals must either accept or kill themselves.
There's no other option."
-Alfredo Ormando
On January 13, 1998 Alfredo Ormando, a 39-year old Italian writer,
arrived in Rome just as the sun was rising. After his long journey
from Sicily, he found his way to the empty piazza of the Vatican
and, facing the entrance to the Basilica, knelt down as if to
pray. He made a rapid hand gesture and suddenly was engulfed
in flames. Before the Church and, he hoped, the world, Alfredo
Ormando had set himself on fire:
"I hope they'll understand the message I want to leave:
it is a form of protest against the Church that demonizes homosexualityòand
at the same time all of nature, because homosexuality is a child
of Mother Nature."
In 2000, the year of the Jubilee, Pope John-Paul II exhorted
his followers in the same spot where Alfredo Ormando had set
himself on fire two years prior, telling them that homosexuality
was "unnatural," and that the Church had a "duty to distinguish
between good and evil."
In 2005, the new Pope Benedict committed himself to even harsher
anti-gay teachings, initiating what some see as a gay witchhunt
within the Catholic clergy, fighting same-sex partnership legislation
worldover, and sending the message that homosexuals have no
place in God's kingdom.
A one-hour documentary, ALFREDO'S FIRE brings to life the man
behind the flames and the issues his fire illuminates.
The film exposes tensions between faith and homosexualityò conformity
and individualityòand shows the deadly consequences of religious
intolerance.
ALFREDO'S FIRE takes on an issue often lost in the gay and lesbian
liberation struggle: the relationship between anti-gay discrimination
and religious intoleranceòand, ironically, the importance of
spiritual expression. A questionable martyr, with the light
of a match Alfredo connected a history of persecution and self-annihilation
to a hope for communion. The fire that consumed Alfredo is the
same that illuminated him, allowing him to be seen in a society
that would rather not see. It was a fire, Alfredo believed,
that would join him with a God in whose image he could never
be seen while alive.
Representing both the lighting and extinguishing of a life force,
fire is a perfect leitmotif for exploring the issue of homosexuality
and religion. It is simultaneously communion with an elusive
God, an expression of pent-up passion and rage, a coming out,
a purification, self-annihilation, and liberationòfeelings or
ideals experienced by gays and lesbians worldwide. Recalling
the burnings-at-the-stake of homosexuals by the Church in the
Middle Ages, Alfredo's fire, like the namesake film,
is both a memorial and protestation. Never again.
By showing the life and death of one man at once drawn to and
repelled by his deepest longings, the film puts into relief
contemporary issues regarding faith and sexuality. Several documentaries
have been made on gay subjects. Usually they are focused on
cases of homophobia, discrimination, or liberationògays as victims
or victors. Disinterested in such dualities or merely "religion
bashing," we want to explore the nature of the oppressionòbut
also the responsibility of being different in society. Moreover,
what are the enduring, life-giving qualities of spiritual connection,
and how can its absence cripple? Instead of glorifying Alfredo's
action, we see his story as a touchstone and mirror.
The fire that Alfredo ignited is emblematic of the struggle
for acceptance of gays and lesbians in religious and social
institutions, but also of the universal drive to better oneself,
and to be seen and accepted in spite of personal difference.
In reassembling the tattered existence of one man, ALFREDO'S
FIRE offers a spark of hope and compassionòa flame by which
to remember, witness, and come out of the dark.
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