Omar Rodriguez Lopez

Los Chidos, the latest film by Omar Rodriguez Lopez debuted in the narrative competition at SXSW 2012 will now make its Los Angeles debut with a special limited engagement of a week long of screenings at the Downtown Independent located at 251 S. Main Street - Los Angeles, CA. Opening night is March 29th and will also have a Q&A with Omar Rodriguez Lopez and drinks after that evenings screening. Make sure to get your tickets reserved. Additional screening times for each play are below.

LOS CHIDOS at Downtown Independent

Friday, March 29th: 8pm screening
*Q&A with Omar Rodiguez Lopez at 9:40pm, drinks 10:15-11pm*
Saturday, March 30th: 4pm
Sunday, March 31st: 5:30pm
Monday, April 1st: 9pm
Tuesday, April 2nd: 7pm
Wednesday, April 3rd: 9pm
Thursday, April 4th: 1pm

RESERVE YOUR TICKETS NOW

This savage satire written, directed and produced by Omar Rodriguez Lopez topped my list of most excellent American Latino films that popped up in 2012. Los Chidos cracked people’s faces when it premiered in competition at SXSW last year, as you can tell by the savvy mainstream and hard core cult film critic quotes in the trailer.  Having seen the film thrice, I can appreciate this sneaky and clever approach in contextualizing the film’s mad provocation. Thanks to Adam Thomson (editor/producer) for giving me a first look.  Enjoy.  More screening play dates to be announced soon and a unique distro plan is likely.  Follow @ORLProductions if you are not already trying to keep up with Omar’s progressive and nonstop music and film creating endeavors.

Omar Rodriguez Lopez’s film Los Chidos will be screened at the New York International Latino Film Festival on Friday, Aug 17th, 2012 at 9:15PM at the Clearview Cinema Chelsea 7. For Tickets and more details CLICK HERE

Film maker  Omar Rodriguez Lopez sits down to talk with Alanna Raben for Details Magazine about his new film “Los Chidos” and the At The Drive-In reunion. Shot in Austin, TX at the Driskill Hotel during SXSW 2012.

Omar Rodriguez-Lopez is a very passionate man. As a huge fan of At the Drive-In, I was never truly aware of just how passionate he is. Most may know him as a guitarist for At the Drive-In and The Mars Volta, but he’s also an aspiring filmmaker, having written, directed, and produced a few films under the Rodriguez-Lopez Productions name. Read on as we discuss what drives him as a person and his thoughts on gender roles in society and how that translated into the dialogue being created in Los Chidos.

Could you tell me a bit about Los Chidos and why you wanted to make the film?

Omar Rodriguez-Lopez: Just to open a dialogue, to get a dialogue open about things that aren’t really discussed, but are there in plain sight. I thought that satire was the best way to do it, because otherwise, it would be a mean film. If you use humor and satire, and the over-dub, you know, to keep an arm’s distance from the thing, then you remember you’re actually looking at something that’s actually supposed to provoke questions more than anything else.

The over-dub was a huge thing. Why did you choose to do that instead of just recording live?

ORL: Again, to keep an arm’s length from the whole story in and of itself, and to remind the viewer constantly that it’s a fantasy, that it’s a farce, that it’s a fable, that’s it allegory. It’s not about, like normally, films are about being emotionally invested in the characters and all that sort of thing. I did an interview earlier with a man who said, “Well, there’s too much crazy stuff and I couldn’t be emotionally invested in it.” That’s not the point of the film. That’s not the film I made. The film is to, again, get a dialogue going about a very real problem, not only in our culture, in Latin culture, but every culture in the world. For women who see the film, for the majority of them, they say, “Thank you. Finally someone who did this.” And there’s people who really like the film, and then there’s men who say, “Why?” They’re sort of off-put by it because it’s a critique on male culture, that’s the culture I’m talking about when I’m saying I’m critiquing my own culture. Yes, I’m a male Latino, but you have to see it in a broader perspective and not, you know… I’m talking about male culture, I’m talking about domination, oppression, exploitation, and the relationship between The Exploiter and The Exploited.

You do keep the film at an arm’s distance, but do you feel that distance could possibly undercut what you’re trying to say?

ORL: No, because there’s other films that can do it as a drama. That’s not the path I chose. Again, my intent is to have a dialogue going, like how one speaks is up to the individual. I chose to speak in a very particular way here during this dialogue. And I understand that it’s not for everybody, some people will be put off by it and not want to have the dialogue… It could because they don’t want to talk about the issues, it could be because, quite frankly, they didn’t like the film, and it wasn’t their cup of tea. All things being equal, that’s completely valid and just as important as the people who like my film.

For the over-dub, you did everything in post-production, I remember you saying that at the Q&A [following the premiere of Los Chidos]. You mentioned that your own Father did the voice of the Father. Did all the other [actors] do their own voices?

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In addition to his rock-star duties as the guitarist for The Mars Volta, Omar Rodríguez-López has technically made seven movies, but he won’t let you see most of them.

The eccentric musician-filmmaker (formerly of At the Drive In, which recently announced plans for a reunion at Coachella) has worked on movies with a close-knit group of friends in Mexico, but has only allowed the last two to screen at festivals: “The Sentimental Engine Slayer” played at the Tribeca Film Festival in 2010, while the outrageous exploitation movie “Los Chidos” premiered in competition at SXSW this week.

A gross-out spectacle done in the style of Spanish telenovelas but positioned as a satire of male chauvinism, “Los Chidos” technically revolves around a Mexican family dealing with crime and other misdeeds while sorting out their interpersonal dramas. Intentionally dubbed and filled with countless provocative images, “Los Chidos” is one of those movies that begs for further explanation.

So I tracked Rodríguez-López down at Austin’s Driskill Hotel this week to figure out what he was going for. And boy, did I get some answers — not to mention a lengthy diatribe against the music industry and capitalism as a whole (he also trashed fellow Mexican filmmaker Alejandro Gonzalez Iñaritu). Frequently out of breath as he spoke, Rodriguez-Lopez sounded like one of The Mars Volta’s lively compositions.

It seems like you’re only making movies to satisfy yourself and your friends. But these last two have played film festivals. What made you more comfortable about getting them out there?

I wasn’t comfortable getting them out there, but I had to be responsible in terms of having a concept of other people. My editor and sound person sat me down and said, “Hey, listen, we respect your philosophy but we work really hard on these films and want to be able to put them out there.” I have to honor that, because they do work very hard. I can’t take the credit for it. Adam Thompson, my editor, he’s the reason we’re here and had the last one at Tribeca. He’s the one who fills out all the paperwork and is very passionate about that.

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One of the more talked about films of this year’s SXSW has been Omar Rodriguez Lopez’s “Los Chidos.” Shocking, violent, funny and made in a style unlike anything else at the festival this year (unlike anything you’ve probably ever seen), the film is divisive, but its differences are what make it interesting and worth talking about (read our review here). Using, but also breaking convention, stereotype and tropes, “Los Chidos” is a crazy fable that explores socially ingrained cultural problems like misogyny, abuse and consumption. Not everyone is going to get it, but Rodriguez Lopez doesn’t seem worried about scaring off those viewers who don’t in order to maintain the clarity of his vision.

The great thing about festivals, is that after you see a movie like “Los Chidos,” you can sit down and ask the director what was going on while the film was made. We got a chance to do just that with Rodriguez Lopez in Austin last week. It’s a wide ranging conversation that spans religion and spirituality to Rodriguez Lopez’s filmmaking inspirations and his creative process, to deconstructing the meaning of some of the symbolism in the movie. There are a few spoilers ahead about some of the more shocking moments in the movie, but we’ll warn you before you get there.

How did you transition from doing music into making films? What inspired you to want to start creatively working in film instead of other channels of expression?
I never understood music as something that could be done as a career. Music is just something that happened. I come from a very musical culture and a musical family. I have no musicians in my family but everyone plays music, everyone plays piano. My mother sings, my father sings. In our culture, dinners usually revolve around writing songs about what’s happening in the room. Actually, I always wanted to make movies. In 1987, my father got his first VCR and camcorder and I started playing with that; that was really where my energy was focused all of the time. That’s what I wanted to be doing. Music is something that just happened that I was fortunate enough to have happen to me as a career. All along the way, I made short films, and then I made my first feature in 2000 and I just thought I’d put myself directly inside of the process, which is the most important thing. I can’t articulate enough how much that is the thing. The end result is just like icing on the cake.

Is 2000 when your filmmaking collective started to come together?
That’s when I started forming it. Very much in the way that a theater group functions or a musical group of like minded people that were interested purely in the process and expression as a form of therapy. The expression as having some sort of medicinal property to it and not just entertainment… Musicians are some of the most awful bunch that you’ll find on this planet, and the drive usually is girls first and foremost, and second to that money, and I just didn’t relate to that at all. Right away it’s like going through a crowd and then you find someone who’s not talking about either of those things, and is talking about the things that are important to you, and you grab onto them. You grab onto them and twenty years later I still know those people.

What was the shoot like? What it was like working for with these people and doing this crazy, wacky film?
It was amazing. It served exactly what it was supposed to serve, which was the addiction to the process and to therapy. Everybody, the crew that didn’t live in Guadalajara, mainly the editor and the cameraman and one of the lighting guys came and stayed at my house. This is where I lived until recently, and the rest of the actors and the rest of the people who were involved were all people that I met while living in Guadalajara and going to see theater and going to see plays and seeing children’s plays. There’s this theater group called Opa, they do anything from kids stories, to issues about the murdered women of Juarez. Immediately I said, “I have to know these people.” I snuck backstage one day and I said “It was beautiful, I want to make a film, would you like to be a part of it?” And once we sat and talked about it and understood where I was coming from and saw the script and realized that, more than anything, it was this social commentary, they were on board, and said anything we can do to help. So they gave me access to all of their facilities where they rehearsed, their own actors, their people, their locations, I really couldn’t have done it without them. The shoot itself is like any independent movie, which is 18 hour days, absolutely insane, but also done in a third world country, which means that the rules are made up as you go along. The hotel that we shot at was in a very dark part of town. Very nice people who run it, but it was a place where people come to do drugs and to have sex and things like this. They gave us full run of the place but we definitely had to respect the ecosystem there and not get in anybody’s business—just stay focused on what we were doing. And humor anyone if they wanted to, if they had questions or wanted to be a part of it somehow.

How did you come to cast Kim [Stodel, who plays the American interloper]?
Kim worked before on the previous film called the “Sentimental Engine Slayer,” and I thought he was interesting, and I needed a character that would represent consumerism and globalism and corporate America. I knew that he would get it and he had enough of a sense of humor about himself and his culture to participate.

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Leave it to Omar Rodriguez Lopez to create one of the wildest, most innovative, and full on challenging films of the year. As a founding member of The Mars Volta, Rodriguez Lopez helped define a brand of progressive hard rock music known for its wild, innovative, and challenging nature. In LOS CHIDOS, Rodriguez Lopez shows he just about has the directing chops to be the force on screen he has long been on stage. 

Set in a modern day Mexican metropolis (it was filmed in Guadalajara), LOS CHIDOS is a fable that revolves around a family who run a roadside tire repair shop. The term run, however, should be applied pretty loosely, as the Gonzales family spends more time gorging themselves on tacos and watching TV than repairing tires, telling most customers to come back mañana. While service may not be their forté, these folks do excel at the art of drinking; their watering hole providing refuge at the end of each long day, usually leading to debaucherous nights indulging their sexual urges, perhaps even with each other. 

The excitement really begins when a handsome foreign man arrives at the tire stand in need of a repair. Dressed in his Sunday best and barely speaking a word of Spanish, the man waves around American money like the Gonzaleses have never seen. The Gonzaleses are immediately interested the opportunity to get a taste of both the stranger’s sex appeal and his cash. Naturally his car can’t be fixed until mañana, giving them the night to drink, fawn over, and incessantly berate the stranger for his poor language skills. One night turns into three or four as the man finds his place among the family and falls hard for one of the neighborhood girls. 

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Music and film worlds will be overlapping in more ways than one at this year’s SXSW Film Festival, and we’ve got the exclusive poster debut of The Mars Volta guitarist Omar Rodriguez Lopez’s feature film “Los Chidos,” which will be making its debut in the narrative feature competion. Surprise surprise, this is the fifth film he’s directed, but only the second one to be seen on the fest circuit. His previous effort, “The Sentimental Engine Slayer” played numerous festivals around the world, and was financed by former Red Hot Chili Peppers axeman John Frusciante.

The official synopsis reads: Set amid the noisy outskirts of some unnamed Mexican metropolis, “Los Chidos” tells the story of the Gonzales Family. Proprietors of a tire repair junkyard sandwiched between two busy freeways, the Gonzales clan’s days are spent wallowing in lazy, mindless routine. When a confused American industrialist happens into the shop with a flat tire, the family’s place in the shame-free food chain is called into question. Family secrets begin emerging as love blossoms in Omar Rodriguez Lopez’s satirical dark comedy.

The satirical dark comedy was shot with a micro-budget and micro-crew in a Guadalajaran whorehouse and we’ve heard it bears a bit of an early John Waters-esque edge. It’s got a serious bent to it though, as in his director’s statement, Rodriguez Lopez says the film “served as a meditation that exposes the unfortunate size of our otherwise beautiful and unique culture. Namely, the inherent machismo, misogyny, classism and homophobic values passed down by our grandparents, aunts, uncles, etc.” He adds, “God is a black lesbian” at the end. Rad. We can’t wait to check this one out. SXSW Film runs from March 9-17.