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Imagine rock ‘n roll being illegal.
Independent filmmaker Nicholas Brennan captures the remarkable story of legendary Cuban heavy metal band Zeus in Los Ultimos Frikis, a band that defied an oppressive Communist government to bring music to the people. Although mostly unknown in the U.S., ZEUS challenged the cultural status quo under Fidel Castro, and has made a three decade-long career out of their poetic rock ballads.
In a nation where American music was banned and rock concerts were broken up by the police, ZEUS still thrived and outlived the Castro’s regime. “They hated us because we were something different,” frontman Diony Arce says in the film. “You were basically playing the music of the enemy. But here we are. We’re the last freaks in Havana.” Arce also credits Megadeath, Metallica, and Fear Factory as influences for ZEUS’ sound.
While today music is still overseen by the government through Cuba’s Agency of Rock, ZEUS chose to celebrate their 25th anniversary with their first national tour, bringing live shows to their fans throughout Cuba. The original score for the film was crafted by Dave Lombardo, a Cuban-American who connected with the project as a chance to return to his roots.
Director Brennan provides an honest vérité approach in balancing a commentary on the shifting social and political changes in Cuba with good old fashioned mosh pit fandom. Brennan received grants by the Moving Picture Institute and the New York University alumni Chris Columbus/Richard Vague Film Production Award to craft the film; he spent years in Cuba, with over 120 hours of footage, before releasing Los Ultimos Frikis, which has its world premiere this Sunday at DOC NYC.
Director Brennan and music supervisor Lombardo sit down with The Knockturnal to discuss their inspiration for telling ZEUS’ story.
The Knockturnal: What drew you both to this story and how did you originally connect with Zeus?
Nicholas Brennan: I first met ZEUS through a Cuban director I was working with as a student in 2009. He lives down the street from the main concert venue, Maxim Rock. As soon as I stepped into my first concert, I was instantly transported into a different world. It was one that felt like home. In the screaming mosh pits of Havana, I found something that was totally familiar to the rock concerts I went to as a kid growing up in Maine.
The Knockturnal: Nicholas, why did you decide to work with other Cuban filmmakers to authentically tell this story? And Dave, how was it to return to Cuba?
Nicholas Brennan: Working closely with some of the top young Cuban artists was incredibly important because it brings a level of intimacy, truth and honesty that an outsider doesn’t necessary bring on their own.
Dave Lombardo: I’m so grateful to have worked on this project so I could dive even deeper into my roots. It has allowed me to see my homeland not only in person for the first time since I left, but also through the eyes of like-minded musicians.
The Knockturnal: The film has a lot of incredible moments woven into it with the band’s children. Did you choose to include their kids to represent the next generation of Cuba, or was that just part of their personal journeys at this stage in their lives?
Nicholas Brennan: The children of the band members form both the next generation for the band– the ZEUS sequel, Los Proximos Frikis! But also, the band’s children are important reminders of how incredibly human and relatable these “frikis” are. You also see the children grow up over the course of the film. Diony’s baby son that you see in the beginning messing with his dad’s radio is nearly 10-years-old at the end of the film as we see him playing video games and running through the streets of Havana.
The Knockturnal: The story of rock ‘n roll in Communist Cuba is amazing, from Castro’s regime to today’s government regulations. How much did you look to history to contextualize ZEUS’ story?
Nicholas Brennan: ZEUS’s story is fascinating in how it tracks along with the political and cultural history of Cuba. Our film is a character-study at its heart, but it also tells the story of Cuba’s own changes and struggles to define and understand itself over the past 30 years, much as ZEUS has also faced these same pressures. Through ZEUS’ experience, you get a window into the broader experiences of the country.
The Knockturnal: Why do you think Zeus out of all the rock bands in Cuba, has survived for close to three decades?
Nicholas Brennan: I think ZEUS has survived first and foremost because of their ability to change and adapt over the years. Many former members have left the country or left the music scene, but the band has always managed to stay focused on their music and their fans. The musicians now at the core of the band have also really internalized ZEUS as part of their own lives. This is what you feel near the end of the film, as you see the way the potential loss of the band is really the loss of each band member’s life. When you’re fighting for something that feels like your life, it’s amazing how you can survive.
The Knockturnal: Do you see any parallels with ZEUS’ story and other nation’s music industries fighting regulations of speech?
Nicholas Brennan: This story focuses on a specific Cuban story, but I think there’s something for everyone to appreciate in ZEUS’s story, regardless of where you come from. Our creative team on the film was incredibly international, with some of the most important storytelling work being done by an Iranian-American filmmaker, Hossein Keshavarz, and Aleks Gezentsvey, who grew up in the Soviet Union. Both saw connections in their own lives to the story of ZEUS and found a familiar experience in what ZEUS has overcome.
The Knockturnal: What do you hope viewers will take away from this film?
Dave Lombardo: I hope other musicians who have only faced the ever-present rejection of the music industry watch this and feel renewed. The rejection of a label or even fans becomes much lighter when you see musicians still passionately performing, knowing that they may only perform with broken instruments in front of lessening crowds and at the risk of being incarcerated.
While today music is still overseen by the government through Cuba’s Agency of Rock, ZEUS chose to celebrate their 25th anniversary with their first national tour, bringing live shows to their fans throughout Cuba. The original score for the film was crafted by Dave Lombardo, a Cuban-American who connected with the project as a chance to return to his roots.
Director Brennan provides an honest vérité approach in balancing a commentary on the shifting social and political changes in Cuba with good old fashioned mosh pit fandom. Brennan received grants by the Moving Picture Institute and the New York University alumni Chris Columbus/Richard Vague Film Production Award to craft the film; he spent years in Cuba, with over 120 hours of footage, before releasing Los Ultimos Frikis, which has its world premiere this Sunday at DOC NYC.
Director Brennan and music supervisor Lombardo sit down with The Knockturnal to discuss their inspiration for telling ZEUS’ story.
The Knockturnal: What drew you both to this story and how did you originally connect with Zeus?
Nicholas Brennan: I first met ZEUS through a Cuban director I was working with as a student in 2009. He lives down the street from the main concert venue, Maxim Rock. As soon as I stepped into my first concert, I was instantly transported into a different world. It was one that felt like home. In the screaming mosh pits of Havana, I found something that was totally familiar to the rock concerts I went to as a kid growing up in Maine.
Dave Lombardo: LOS ULTIMOS FRIKIS is a project that is very close to my heart. My parents made the choice to leave Cuba when I was 2 years old. If it weren’t for this decision, I imagine my life would have been very similar to the guys in ZEUS. We escaped a land of oppression to live in the land of opportunity, and with a lot of hard work have reaped every benefit of my parents risk.
The Knockturnal: The filmmaking style of Los Ultimos Frikis is very fluid, with a vérité approach. Why choose this form instead of a more traditional and formal documentary style? Nicholas Brennan: I wanted to provide an on-the-ground glimpse into the life experiences of this group of Cuban artists. The vérité filmmaking, which was created in close collaboration with cinematographer Javier Labrador, was an important component of that. We wanted to bring viewers directly into the worlds of each band member and to feel a closeness and intimacy that is often missing in formal interview set-ups. The Knockturnal: From the MPI and NYU-related grants to a Kickstarter campaign to fund editing, how long did it take to now reach DOC NYC? What does this premiere mean to you? Nicholas Brennan: This has been over a ten-year journey from meeting the band during my first visit to Cuba in 2009. In many ways, I grew up right alongside the band through the making of this film. I’ve also collaborated with some incredible friends and artists over the past decade to share this work. So, this DOC NYC premiere is an important moment not only for me, but also for all the amazing people who shared their time, talent, and stories with me. Dave Lombardo: I hope the score I created helps to accentuate the importance of this story, the bands truth and Nicholas’ vision. I am honored to have worked on this and will treasure the memories and new friendships forever.
The Knockturnal: Nicholas, why did you decide to work with other Cuban filmmakers to authentically tell this story? And Dave, how was it to return to Cuba?
Nicholas Brennan: Working closely with some of the top young Cuban artists was incredibly important because it brings a level of intimacy, truth and honesty that an outsider doesn’t necessary bring on their own.
Dave Lombardo: I’m so grateful to have worked on this project so I could dive even deeper into my roots. It has allowed me to see my homeland not only in person for the first time since I left, but also through the eyes of like-minded musicians.
The Knockturnal: The film has a lot of incredible moments woven into it with the band’s children. Did you choose to include their kids to represent the next generation of Cuba, or was that just part of their personal journeys at this stage in their lives?
Nicholas Brennan: The children of the band members form both the next generation for the band– the ZEUS sequel, Los Proximos Frikis! But also, the band’s children are important reminders of how incredibly human and relatable these “frikis” are. You also see the children grow up over the course of the film. Diony’s baby son that you see in the beginning messing with his dad’s radio is nearly 10-years-old at the end of the film as we see him playing video games and running through the streets of Havana.
The Knockturnal: The story of rock ‘n roll in Communist Cuba is amazing, from Castro’s regime to today’s government regulations. How much did you look to history to contextualize ZEUS’ story?
Nicholas Brennan: ZEUS’s story is fascinating in how it tracks along with the political and cultural history of Cuba. Our film is a character-study at its heart, but it also tells the story of Cuba’s own changes and struggles to define and understand itself over the past 30 years, much as ZEUS has also faced these same pressures. Through ZEUS’ experience, you get a window into the broader experiences of the country.
The Knockturnal: Why do you think Zeus out of all the rock bands in Cuba, has survived for close to three decades?
Nicholas Brennan: I think ZEUS has survived first and foremost because of their ability to change and adapt over the years. Many former members have left the country or left the music scene, but the band has always managed to stay focused on their music and their fans. The musicians now at the core of the band have also really internalized ZEUS as part of their own lives. This is what you feel near the end of the film, as you see the way the potential loss of the band is really the loss of each band member’s life. When you’re fighting for something that feels like your life, it’s amazing how you can survive.
The Knockturnal: Do you see any parallels with ZEUS’ story and other nation’s music industries fighting regulations of speech?
Nicholas Brennan: This story focuses on a specific Cuban story, but I think there’s something for everyone to appreciate in ZEUS’s story, regardless of where you come from. Our creative team on the film was incredibly international, with some of the most important storytelling work being done by an Iranian-American filmmaker, Hossein Keshavarz, and Aleks Gezentsvey, who grew up in the Soviet Union. Both saw connections in their own lives to the story of ZEUS and found a familiar experience in what ZEUS has overcome.
The Knockturnal: What do you hope viewers will take away from this film?
Dave Lombardo: I hope other musicians who have only faced the ever-present rejection of the music industry watch this and feel renewed. The rejection of a label or even fans becomes much lighter when you see musicians still passionately performing, knowing that they may only perform with broken instruments in front of lessening crowds and at the risk of being incarcerated.
Nicholas Brennan: I hope we can all take away an inspiring message of overcoming the difficulties and challenges we face in our own lives everyday. What’s important is that you love what you do and that you feel like you’ve made an impact with your art, with your work, with your time. That’s what the guys from ZEUS reflect on at the end of the film and it’s something I hope we can all learn from their 30 years of rocking in Cuba.
“Los Ultimos Frikis” premieres this Sunday, Nov. 10, at SVA Theatre as part of DOC NYC.
