‘He doesn’t drive a car and takes the bus. … He lives simply yet his heart is so full.’
As Philippine cinema gears up for the 20th edition of the Cinemalaya Philippine Independent Film Festival in August, we highlight one of its moving forces: Ferdy Lapuz. This low-key fellow is responsible for producing many Cinemalaya full-length gems such as “Blue Room” (2022, directed by Ma-an Asuncion Dagñalan), “Belle Doleur” (2019, directed by Joji Alonso), “Iska” (2019, directed by Theodore Boborol), “Fuccbois” (2019, directed by Eduardo Roy, Jr.), “Distance” (2018, directed by Perci Intalan), “Mamang” (2018, directed by Denise O’Hara), “Kiko Boksingero” (2018, directed by Thop Nazareno), “Kuya Wes” (2018, directed by James Robin Mayo), “Bagahe” (2017, directed by Zig Dulay), “Pamilya Ordinaryo” (2016, directed by Eduardo Roy, Jr.), “Ekstra” (2013, directed by Jeffrey Jeturian), “Bwakaw” (2012, directed by Jun Lana), “Cuchera” (2011, directed by Joseph Laban), “Bahay Bata” (2011, directed by Eduardo Roy Jr.), and many, many others.
A check into his Internet Movie Database (IMDb) profile reveals that Ferdy has produced around 110 films so far – both short and full-length. His impressive filmography includes mainstream movies like “Die Beautiful” and “Becky and Badette” directed by Jun Lana, “Signal Rock” directed by Chito Roño, the youth flick “Ang Babaeng Allergic sa Wifi,” and Brillante Mendoza’s international film fest stunners “Serbis,” “Kinatay,” “Lola,” “Masahista,” and “Tirador.”
In March 2023, the Fantasporto International Film Festival (IFF) in Porto, Portugal, bestowed a lifetime achievement award on the Pampanga-born Ferdy and showcased some of his films in a retrospective.
One can only imagine how the landscape of modern Filipino independent cinema would look like without the passion and dedication of Ferdy, who tirelessly promotes Filipino cinema artists and seeks avenues so that they could gain a greater audience worldwide.
This year, Ferdy is celebrating his 30th year as an advocate of Philippine cinema. It was in 1994 when he first became involved in Filipino movies. He was already living and working in Toronto, Canada, when his friend, one of the producers of “Sibak: Midnight Dancers,” requested him to show director Mel Chionglo and company around the city. “Sibak…” was screening at the Toronto Film Festival then. Ferdy met Direk Mel, as well as director Carlitos Siguion-Reyna, writer Bibeth Orteza, and producer Armida Siguion-Reyna. “Pinasyal ko sila. Parang naging tourism officer nila ako. Naging close na ako sa kanila,” said Ferdy.
Through mutual connections, Ferdy also met directors Jose Javier Reyes and Jeffrey Jeturian, whose respective films “Live Show” and “Tuhog” were screened in Berlin and Venice. Ferdy would be present at these international film festivals to give support and learn about how these high-profile international film events were managed.
Ferdy would be instrumental in the worldwide success of “Magnifico,” which he entered in various film fests. At the 2004 Berlin International Film Festival, “Magnifico” won the Crystal Bear and the Deutsches Kinderhilfswerk Grand Prix awards. The drama about a child’s love for his grandmother and sister, written by Michiko Yamamoto and directed by Maryo J. delos Reyes, also gained accolades at the 2003 Karlovy Vary International Film Festival in the Czech Republic, aside from obtaining over 34 awards and 11 nominations here and abroad.
From then on, there was no looking back. Ferdy used his own earnings as an employee in an import company in Toronto to research, make calls to programmers, send tapes of screeners, and even fly to the film festivals. “Kaya ako hindi nakakaipon,” Ferdy admitted. There was always a sense of pride and fulfillment in him each time a Filipino film he helped (like Mario O’Hara’s “Babae sa Breakwater” and Aureus Solito’s “Ang Pagdadalaga ni Maximo Oliveros) would be accepted in a festival, especially when it was an A-list fest, and more so when it would win an award.
In 2005, after much contemplation, Ferdy returned to his hometown of Angeles City. For six months of the year, he would stay in the Philippines to produce films, and the rest of the year, he would work in Canada. “Para pagdating ko dito, meron akong perang gagastusin. GANZ, the company where I worked for 11 years, they were kind enough to absorb me kapag summer,” he explained.
That started his fruitful collaborations with independent filmmakers. As soon as the lineup of Cinemalaya finalists would be announced, Ferdy would take to Facebook to look for these filmmakers to message them.
Another good thing that came out: Ferdy had a chance to see his movie concepts come to life. “Ekstra,” a film starring Vilma Santos as a bit player, for instance, was based on Ferdy’s experiences as a talent coordinator supplying “extras” or minor talents for movie and TV projects. Ferdy pitched the idea to producer Atty. Joji Alonso who liked it. Then Ferdy worked out the story with screenwriters Antoinette Jadaone and Zig Dulay.
Coming back to the Philippines also expanded Ferdy’s skills to artist management. He has stopped supplying “extras” because of challenges in payment collection. But he still continues to nurture Filipino actors as an agent and manager. Among the 30 artists he currently manages include indie favorites Sue Prado, Soliman Cruz, Therese Malvar, Elora Españo, Mercedes Cabral, Toffer Fabregas, and Mae Paner. Ferdy does not have a name for his agency or for his group of artists but someone has lovingly christened them “Ferdy’s Angels.”
For a time, he was also the manager of international star Dolly de Leon. “I managed her until ‘A Very Good Girl’,” Ferdy says of Dolly, referring to the actress’ hit Star Cinema movie. When more offers started coming, Ferdy happily turned the reins to another local agent who would be in a better position to manage Dolly’s career in the Philippines.
“Nakita ko ang demand for Dolly. Maraming requirements. Hindi naman ako corporate,” Ferdy explained.
There are notions about movie producers and managers as glamorous moguls residing in big fancy houses, flying from one country to another, and living comfortable lives. Ferdy Lapuz defies that. He still lives in Angeles City, in his family home filled with knick-knacks. Although he still travels abroad for film festivals, he more often tours the sights of the Philippines. He doesn’t drive a car and takes the bus. He continues to collaborate with Filipino filmmakers. He lives simply yet his heart is so full.
Whenever there’s a breakthrough like an international movie or a regular teleserye for his “alagas,” or a new festival for any of the films he’s helping produce, he is beyond grateful. Thirty years in the ‘biz, he’s seen the problems in the entertainment industry but he remains optimistic. “Nakakapag-compete na tayo sa Cannes at Venice. Marami nang co-productions with international companies. Ang actors natin nakakapag-penetrate na sa Hollywood,” he cited.
Asked about his hopes for the industry, his reply revealed his concern for the people, as he said, “Sana hindi mawalan ng trabaho ang mga tao: ang mga artista, crew, mga director…”
Mabuhay ka, Ferdy.
