Criadores de Ídolos
あらすじ
No synopsis available.
スタッフ・制作会社
監督: Luís Diogo
脚本: Luís Diogo
音楽: DJWILD / John Black Wolf
撮影監督: Pedro Farate
制作会社: Cine-Clube de Avanca / Filmógrafo
No synopsis available.
監督: Luís Diogo
脚本: Luís Diogo
音楽: DJWILD / John Black Wolf
撮影監督: Pedro Farate
制作会社: Cine-Clube de Avanca / Filmógrafo
Most of us likely have individuals to whom we look up to for guidance and inspiration, but how do they attain that exalted status? Is it because of their expertise and accomplishments? Is it for their fame and notoriety? Or is it because they leave a lasting legacy after their deaths that we find impressive, impressionable and awe-inspiring? While all of these considerations factor into the result, it’s actually quite amazing how often the third reason – their legacy – has the greatest impact. In many cases, the “what might they have done if they had only lived longer” element comes into play, elevating such individuals to an iconic level of respect and admiration that they may not have achieved otherwise. They truly become “idols” in their own right. But are they alone responsible for this outcome, or are other considerations involved? That’s the question addressed in writer-director Luís Diogo’s latest offering about a secret society that helps to create idols in a singularly unique way – by assassination. Through clandestine and less-than-subtle means, the Order of Idolmakers quietly facilitates the deaths of legendary figures. Some of their targets are said to have included such individuals as John F. Kennedy, Marilyn Monroe, James Dean, Elvis Presley and many others. The purpose? In part, it’s to give members of the public the icons they need to be inspired to their own greatness, a noble ambition, even if it’s accomplished in a questionable manner. More importantly, however, it’s a means to ensure that these figures live on in the collective consciousness of society, an undeniable awareness that invariably leads to multiple money-making opportunities through memorabilia merchandising, re-releases of their beloved creative works, visitations to relevant tourist destinations such as Graceland and so forth, the self-serving counterpart to the aforementioned noble intent. Historically, this secret society of killers has been an all-boys club, but, as the film opens, the organization debates adding its first female operative, Sofia (Rafaela Sa), whose father (José Fidalgo) and grandfather (Ricardo Carriço) are influential members. But does she have what it takes to assume such a role? After she accepts an invitation to join the group, she’s assigned her first target: rockstar Sergio Guerra (Diogo Lima), whose skyrocketing popularity alone would ensure his fame and fortune but whose untimely death would guarantee a phenomenal legacy (not to mention a hefty income stream for the society and its affiliates). However, when Sofia sees all of the good Sergio does, such as significant charity work, and when she inadvertently becomes romantically involved with his brother, Filipe (Diogo Tomaz), she becomes conflicted and has second thoughts that subsequently place her mission – and her life – in jeopardy. This conspiratorial thriller thus raises intriguing questions about the nature of fame and fortune, how “we” decide whom we consider our icons and the cost that comes with such notoriety. It also explores issues related to female empowerment in a traditional man’s world. But, at the same time, it also asks, is this an aspiration that women really want to pursue? These are thought-provoking premises, to be sure, though the motivations that drive the characters’ beliefs and actions (especially those of Sofia) are, at times, seemingly implausible and surprisingly naïve, qualities that give viewers pause to wonder why she would be considered a suitable candidate for society membership in the first place. Those shortcomings aside, however, this makes for a provocative watch that should give us all pause for reflection on its core subject matter. It also features a kickass soundtrack, one of the best I’ve seen in a film in quite some time. “Idolmakers” may not represent a work of groundbreaking cinema, but it gives us things to think about when it comes to whom we’re willingly and readily to place on a pedestal.
