In honor of World AIDS Day 2025, Northwest Film Forum presents three short films created by artist and iconoclast David Wojnarowicz. One of the most provocative and politically vocal American artists of the 1980s, David Wojnarowicz is known throughout the art world for his paintings and photographs that directly confronted the American government’s inaction against the AIDS crisis, as well as explored less glamorous, yet vastly important, aspects of queer American life.

Often unseen, Wojnarowicz’s films are imbued with the passion, hostility, and frankness found in his other work, yet approach his artistic interests and subjects in vastly different, and often unorthodox, methods. From Satan-influenced teen murderers to drag queens on the road trips of a lifetime, David Wojnarowicz’s films stand as an area of his work that allowed him to express his perspectives on American life that was nearly impossible in other mediums.

FILMS IN THIS PROGRAM: 

Where Evil Dwells (Tommy Turner & David Wojnarowicz, 1985, United States, 31:16)

Where Evil Dwells originated as a scripted project based on the sensational story of teen killer Ricky Kasso, self-described “Acid King” of Northport, Long Island, who sparked a panic over heavy metal, drugs, and Satanism after the pseudo-ritualistic murder of a fellow teen in the woods. The widespread media attention generated by the case struck a chord with Tommy Turner and David Wojnarowicz, who interviewed several of Kasso’s friends as material for an intended Super 8 feature film. After a fire destroyed much of what they shot, Turner and Wojnarowicz ultimately edited their footage into a 30-minute “trailer” that represents an anarchic, assaultive, and wildly expressionistic take on what Wojnarowicz described as “the imposed Hell of the suburbs.” The result — something of a cross between Flaming Creatures, a proto-Jackass stunt performance piece, and a no-budget horror film — is recognized as one of the key films of the “Cinema of Transgression.” Where Evil Dwells also includes a title track by J.G. Thirlwell (Foetus) and Roli Mosimann (Swans) and appearances by Rockets Redglare as Jesus and Joe Coleman as Satan.

A Fire In My Belly (David Wojnarowicz, 1986-1987, United States, 21:00)

Echoing themes explored throughout David Wojnarowicz’s art and writing, A Fire in My Belly is a visceral meditation on cultural and individual identity, spirituality, and belief systems. On a trip to Mexico City with Tommy Turner to scout Day of the Dead imagery, Wojnarowicz shot 25 rolls of super-8 film, documenting scenes that embodied the violence of city life. A central image is that of a child exploited as a fire-breathing street performer, which resonates in the title of the film and Wojnarowicz’s own experience hustling on the streets at a young age. He later staged scenes in his New York City apartment to combine with this footage, collecting dreamlike images to illustrate thematic sections he planned for the film’s structure, outlined in a cutting script. Among these images is a dancing, gun-wielding marionette, coins dropping into a plate of blood, vibrantly colored loteria cards, and the now iconic self-portrait of the artist with his lips sewn shut.

Beautiful People (David Wojnarowicz with Jesse Hultberg, 1988, United States, 34:57)

Beautiful People follows Jesse Hultberg, Wojnarowicz’s former bandmate in 3 Teens Kill 4, as he dresses in his drag persona, the hippie-era singer Melanie Safka, and departs New York City for an upstate lake. Primarily shot in black and white, most of the film focuses on Hultberg’s attentive preparation as he applies makeup and selects his gown and jewelry. In the taxi, passing views out the window shift from scenes of the city to the tree-lined highway. Arriving at a forest, Hultberg cautiously navigates the uneven terrain in stilettos, with a glamorous presence in distinct contrast to his surroundings. Sitting on the rocky lakeshore, Hultberg reaches his gloved palm toward the water. Upon contact, the film immediately shifts into color, revealing the vibrant red fabric of the gown and gloves. This colorful awakening marks the film’s melancholic end, as the final shot captures Hultberg disappearing into the water.

Synopses courtesy of Electronic Arts Intermix.