This paper utilizes the theological framework developed in Jūrgen Moltmann\u27s A Theology of Hope to examine David Wojnarowicz\u27s film, A Fire in My Belly. Moltmann\u27s work criticizes eschatologies of glory that can be seen when the church emphasizes heavenly salvation at the expense of earthly life. Instead, Moltmann poses the eschatology of the cross that leads the believer to hope for God\u27s transformation of the earth on which the cross stands and sends the believer back to struggle in the world. Using these theological categories, this paper examines Wojnarowicz\u27s film. The footage from A Fire in My Belly contains themes of colonization, poverty, HIV/AIDS, church, and sexuality. The film juxtaposes images of poverty, suffering, and silence with images that symbolize wealth, power, and indifference. Through this juxtaposition, Wojnarowicz vividly depicts Moltmann\u27s eschatology of glory. When Moltmann\u27s theology is applied to Wojnarowicz\u27s film, it strengthens the film\u27s critique of society\u27s and the church\u27s silence, exclusion, stigmatization, and maintenance of hierarchical structures. This paper concludes that because Wojnarowicz\u27s film speaks to numerous concrete situations of oppression – of persons living with HIV/AIDS, the poor, queer persons, persons from the two-thirds world, and differently-abled persons – it makes a stronger and more precise critique of the ways in which Moltmann\u27s theological categories operate than Moltmann makes himself and demonstrates how Moltmann\u27s theology, in its failure to speak to earthly suffering, fails to be the eschatology of the cross that Moltmann poses
