Three months ago, the Peruvian actress Jely Reategui He packed his bags and moved to New York, United States, in search of new opportunities to develop his artistic career. Once settled in The Big Apple, she received a call from XanaxtasiaDiego Muñoz’s character, to invite her to be part of an unprecedented comedy project.
It was thus that the 34-year-old artist agreed to join the cast of “The truth of Xanaxtasia”, a national film that tells the story of the popular drag queen and was premiered virtually this Thursday, July 14. Her character, an entertainment journalist, will give something to talk about on screen.
Infobae spoke with Jely about her role in the comedy and also gave us her opinion about the support that Peruvian cinema receives from the audience, which has led her to be the headlines of various covers on more than one occasion.
Jely, how did you dare to be part of “The truth of Xanaxtasia”? I guess you’ve heard of her long before…
I have been a fan of Xanaxtasia since I knew it exists. He is an iconic and representative character not only for the LGTBQ community, but also for comedy in Peru. I have always admired her a lot and I love her work. I was in New York when she asked me to be part of the project. I didn’t think twice and said yes, let’s do it. I traveled exclusively for the recordings and then I came back. She was amazing. I am happy to participate, and we have also laughed a lot.
Can you tell us a bit about your character?
My character is a fusion between Magaly Medina, Mónica Chang and the cliché of an entertainment journalist. A very representative character that exists on Peruvian television, which is very hated. They gave me the opportunity to make fun of that kind of character, and I was happy. I had a lot of Fun.
What characteristics do you think this cliché character has, the one that can be seen on the small screen today?
The entertainment journalist cliché is morbid, with an acid tongue. That’s why I made fun of all that representation because it is a character that exists on television. They gave me a lot of license to play, a lot of freedom.
The film tells the story of a popular drag queen. Do you think there is a greater interest in bringing themes from the LGTBQ+ community to the cinema?
As more things are done, the public will be able to choose what to see and what not to see. What the public has to do is go see things, but it depends a lot on trying and trying new things that genuinely make you laugh. Xanaxtasia gives a lot of laughter on networks and taking it to the movies seems like a great goal to me.
In the cast are the influencers Salandela and Percy Pls, despite the fact that they have no acting experience. Your opinion on the incursion of people who are not dedicated to acting has been clear…
If they have been called, it is because they are needed and that is fine. I think it’s fine. Great. If they are called it is because each actor, influencer, person, who knows, their game contributes to the story and I think it is great.
It has always been said that the audience does not usually support Peruvian cinema, what is your perception?
There is a lot of prejudice in general, it is something that we must work on, develop our sense of community. There is a lot of prejudice that for the simple fact of being Peruvian it is a shit. No, I think there are options, a lot of variety of things. Commercial cinema is not the only cinema that is made, there are independent ones but if there is no public it will not grow. That is why it is essential that the first dates of the premiere of a Peruvian film go.
“Until we meet again” arrived on Netflix, but was not spared from criticism… (Jely participated in the tape)
I think if you don’t like the movie, don’t watch it. If you like it, watch it and recommend it. There is a lot of prejudice, you have to see and support. I have no further opinion on that. The only way for the cinema to grow is for the public to go see movies. There are a lot, but they don’t see them. There are even free functions that take place in the open air or cultural centers, which are less promoted because they cost money if there is no brand sponsoring them.
You have commented on this in social networks and closed your Twitter account due to the detractors…
Yes, it is like going to the lion’s den. I keep thinking the same thing, but now I have to see where I say it and where I don’t. I haven’t changed my mind on that. We have to develop our sense of community. It is a collective work that does not end with the making of the film, but with the audience.
How is your relationship with social networks now? Do you limit yourself when it comes to sharing something?
It’s a love hate relationship. I publish what amuses me, and sometimes, not. It depends on my mood, and if I have something to share or not. It’s not like you have to stick to a certain agenda or do it for followers. If I have something to share that amuses me, I do it and if not, I don’t.
You went to live in New York in April of this year, how has this experience been for you?
It has been a good change. It has been intense, hard, cool, many things. I think it’s good to be comfortable and familiar to venture out to see what new things come out. I have started creating from another place. I have met wonderful people who have awakened in me another type of interest in creating and in other formats, things with the body, writing and directing. This trip has been very nutritious, like all of them. This one in particular has been intense.
Do you plan to return to Peru?
I’m going this week because I’m recording Larry’s Show, a project I have with Mr. Zeta and Chino Punto. I am very excited to return to recording. And from there I have a couple more projects that I can’t comment on yet. I’m creating from somewhere else like, for example, playing with the direction.