Shelter is the final chapter of a trilogy dedicated to resistance and resilience.
Our interest in Pepsi manifested itself in a square in the outskirts of Paris. The impossibility of recording her face led us to construct the narration following the ways of an ancient parable, or a myth. This is why the myth of Europe, with the kidnapping and rape of a young woman that happened on an island in the Mediterranean and performed by Jupiter, in the form of a white bull, has found its place in the heart of the narrative structure. Shelter as a film corresponds itself to a shelter, a safe place that preserves the story of Pepsi, what she wanted to tell us, what happened on her skin.The road that she’s running insinuates through an indistinct international territory, between Northern Italy, the Maritime Alps and Paris, crossing borders, cities, mountains and forests, in a technological Middle Age that overcomes the division between nature and urbanity. Pepsi grew up on a wild island inside a movement of Muslim-inspired fighters, from which she fled, crossing Asia and Africa to get to Europe. Her path becomes a jolt, an emanation of the post-colonial conflict that moves into the slow and inexorable decadence of a great Western empire, in which new world cultures penetrate and assimilate. The story of Pepsi, narrated directly by her voice, becomes body and action following the various territories she has passed through. The absence of her face in the dramaturgical construction elevates her voice from a particular story to a collective song.