Selected for the Julien Dubuque International Film Festival (JDIFF), Idol Makers, directed by Portuguese filmmaker and actor Luís Diogo, offers a provocative exploration of fame, death, and the making of icons. In this interview, he discusses the inspiration behind the story — sparked by the early deaths of major celebrities — and how the film uses suspense to question idolatry, ambition, and the systems that shape public figures into legends.
Idol Makers is built on a bold and provocative premise linking fame, death, and the creation of myths. How did this idea come about, and what were you most interested in exploring behind it?
The idea came when Amy Winehouse died and everyone was talking about idols who passed away so young. I thought: what if that wasn’t a coincidence? What if there was an Order responsible for killing these people? From there, I developed the story of Sofia, who discovers that her father and grandfather belong to this Order, and that to join it, she must plan the death of a celebrity and turn them into an idol.
The film blends drama and fantasy, but also reflects on celebrity culture and how society turns public figures into legends. What kind of reflection did you want to provoke in the audience?
The main theme is idolatry. I wanted people to reflect on whether it is actually useful and why we need idols. The film also shows how idols are created, often through constructed narratives, and invites the audience to think about that — sometimes even with a bit of irony.
Sofia plays a central role and carries the weight of wanting to become the first woman in this Order. What does her journey say about ambition, belonging, and power?
There is also an important theme about how some women feel they need to prove their value to men. Sofia’s journey reflects that — how far someone is willing to go to be accepted, to belong, and to gain power within a system that is already structured.
By referencing names like Elvis, Marilyn Monroe, John F. Kennedy, and James Dean, the film touches on iconic figures deeply rooted in collective imagination. How did you work with such strong references without losing the film’s own identity?
These references are part of the film’s concept itself, which is to question how idols are created. The idea was not just to reference them, but to use them as a starting point to provoke reflection. The screenplay builds its own identity by placing these icons within a larger narrative that makes the audience think — and even smile — about that process.
As both director and producer, how did you shape the tone of the film to balance its fantastical elements with its emotional core?
The film is a thriller, so from the beginning the idea was to create a story where the audience never knows what Sofia is going to do. At the same time, I wanted to keep a strong connection to real emotions and human conflicts, so even within a фантаstical concept, the story feels close to the viewer.
After watching the film, what do you hope stays with the audience: the suspense of the story or the reflection on how idols are created?
I hope the audience enjoys the suspense, but mainly that they take the reflection with them. The idea is that the film stays in their minds, especially the next time a young star dies suddenly.
The film is part of the Julien Dubuque International Film Festival (JDIFF), known for highlighting independent cinema. What does this selection mean to you, and how do you see audiences responding in this context?
Being part of JDIFF is proof that, even with low budgets, my films are improving — otherwise we wouldn’t be there. It makes me want to keep making films. I hope audiences enjoy the movie and remember it the next time a young star dies suddenly.
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