A film by Rolando Colla
About 7 Days
Ivan and Chiara meet on a Sicilian island to prepare the wedding for Ivan’s brother…
4 Questions for Rolando Colla Why this story? I wanted to tell the story of…
The latest film from Colla, now a relative veteran in Switzerland, “Seven Days” follows up Colla’s…
Ivan and Chiara meet on a Sicilian island to prepare the wedding for Ivan’s brother and Chiara’s best friend. Despite the fact that Ivan is determined not to repeat the failure of his last relationship and Chiara does not want to jeopardise her marriage, the two fall in love with each other. They resolve to live their relationship for only a few days and then break it off when the wedding guests arrive on the island. However, they made such a plan, without taking love into account.
4 Questions for Rolando Colla
Why this story?
I wanted to tell the story of a man who has withdrawn himself, because he wanted to break free from others, and above all from love.
Ivan is a botanist and lives in the world of botany, writing academic articles and he runs a herbarium. He has given up on love, or at least so he thinks. And then one day, he is contacted by Francesca, his brother Richard’s girlfriend. Both Francesca and Richard are ex-junkies, who want to get married on a small Sicilian island.
So Ivan, who has finished with love, comes to organize a celebration for love.
I was interested in showing that Ivan is repressing his own problems. He doesn’t talk about his failures for a long time, and looks for reasons to blow off the celebrations – because he doesn’t feel like partying at a wedding, and even less so with his brother, for whom he seems to have little sympathy. It suits Ivan that few people live on the island, and the locals are keen make as much income as possible from the festivities, but also that the island only has one run down hotel and the lighthouse, where his brother wants to spend their wedding night, is out of order. This is where Chiara, Francesca’s best friend, comes to the island to help with the preparations, and sees things differently; for her everything is possible, and of great importance to the married couple.
Thus begins a struggle between withdrawal and commitment, between selfishness and generosity. Chiara finally manages to pull Ivan to her side. He gets his grip together, and goes to the lighthouse to clean up and set up the matrimonial bed for the wedding couple. He comes out of his closed world, and as his spirit awakens, he finally awakens his need for closeness and vitality.
“Seven Days” is the story of a man who returns to life.
The island itself also comes back to life. It happened to me several times, to find myself in a place I considered to be devoid of life, because I wanted to keep it lifeless, to have my peace, and instead I was surprised, because life comes to find us, even if we hide. This sounds abrupt, yet this is a deep and existential experience; even when we retreat, life calls us to back to play our part.
“Seven Days” is also the story of a man in the second half of his life – a second rite of passage of some sort – who is disappointed by love, but more precisely by his ability to love. It is also a personal story that is connected to my own life and age.
The unavoidable happens; Ivan develops feelings for Chiara. He feels that Chiara is attracted to him too, but is afraid to let him in, which is why he has the unusual idea of having a relationship with her only for a few days, to avoid the bad that comes sooner or later. He wants to keep love at bay. Chiara finds the proposal courageous and therefore agrees.
But Ivan is unable to keep his cool and his feelings grow stronger than his plan. He feels jealous of Stefano, Chiara’s real life partner, and he projects his own failings on her relationship, though he’s not necessarily mistaken either. But he loses control of his feelings, and when he calls his ex-girlfriend he wants to understand what happened and what went wrong.
For me, it is essential to see how Ivan changes over the course of the film. As he gets closer to his brother, he accepts his confusion and he fights with Chiara. It would have been easy to let him fail with Chiara, but I did not want that. Chiara also wants a change, and wants to leave Stefano for a more intense life.
“Seven Days” is a film against the resignation. For me, it is also a plea for a passionate love story, and ability of a man to break away from his slumber and change.
Why did you chose the small island of Levanzo as a shooting location?
Levanzo has inspired me since the first time we set foot: with only one small village by the sea, a dilapidated lighthouse, the few beaches with pebbles and wild nature. Even the inhabitants, people with a certain scepticism, have opened up with time, and inspired me. Their songs, their cuisine and their joie-de-vivre are now in the film, especially in the scenes that show the wedding feast, and I’m very happy about that.
Why this cast?
For the female leading roles (Chiara and Francesca) I had the fortune of working with two actresses that I knew from previous films: Alessia Barela acted in “Giochi d’Estate”, Linda Olsansky in “Einspruch VI”. I could count on the fact that they are both natural and spontaneous and they are willing, during long weeks of rehearsals, to define exactly their characters and completely identify with them. For the casting of the male leading roles I asked Alessia and Linda to be involved and I chose with them.
Both Bruno Todeschini (Ivan) and Marc Barbé (Richard) were willing to have intense rehearsals, and I think it was worth it. Ivan at the beginning of the film is not really nice, he is arrogant and in some ways childish. Todeschini has accepted and lived these aspects of Ivan’s personality making the change as main character of the story even stronger.
For the inhabitants of the island I’ve worked with Sicilians actors and actresses, both with professionals and non-professionals. I was particularly struck by Aurora Quattrocchi, who acts as the owner of the hotel, and by Gianluca Spaziani, the lightly handicapped son, I find their islanders’ discretion very personal.
The guests of the party, friends of Richard and Francesca, are mainly ex-junkies. Here as well I wanted to have pure authenticity.
The choir is composed by singers between the age of 60 and 75 that live in Palermo and in their free time sing; only the soloist is a professional. We found the musicians in a senior center in Palermo, and they play by ear.
Why this style of story telling?
The film leaves a lot unsettlement and invites the public to know about the past of the characters, with some hints inside the story itself. What happened in the past to Ivan and especially to the newlyweds is particularly eventful, but “Seven Days” is a pretty calm film. I think there is more power in silence than in noise. I also think that a story that is anchored in the Here and Now has a stronger emotional impact. This is the reason why I avoided flashbacks and I restricted myself to the everyday, in which the action develops.
Certainly the script is a construction and also the mise-en-scene is the product of creative intent, there are metaphors and symbols, but I tried to tell the story as it could have happened in reality.
Even though the situation and the locations are exceptional, I wanted to give a feeling of everyday life, let everything follows its course, to have in the film sensual moments and leave in the background the dimension of pain, fears and hopes.
The latest film from Colla, now a relative veteran in Switzerland, “Seven Days” follows up Colla’s “Summer Games,” a coming-of-age tale which played out of competition at 2011’s Venice Film Festival, then screened at Toronto.
“Seven Days” shares with “Summer Games” the sense of a possibly finite time for happiness. Otherwise, it marks another new direction in Colla’s career that begun with the 1998 period drama “Le monde a l’envers,” and also features estranged-sibling drama “The Other Half,” which won its male leads, Kader Boukhanef and Abel Jari, best actor awards at the 2007 Amiens Festival.
Co-starring “Summer Games’”Alessia Barela, “Seven Days” turns on the seemingly impossible love between a man, Ivan, whose brother is marrying on a Sicilian island, and the bride’s best friend, Chiara. Ivan is reluctant to risk repeating the debacle of his last relationship, and Chiara does not want to endanger her marriage. They determine to enjoy their love for just a few days, but it proves much harder to curtail than they planned.
“Seven Days” was shot over 2 months on the Sicilian Island of Levanzo, and is coproduced by Prato/Rome based Emanuele Nespeca (Solaria Film), associate produced by Mario Mazzarotto (Movimento Film) and with the assistance of Paris based Ilann Girard (Artcam Sarl). It is supported by the FOC Schweiss, MIBACT and Regional Fund of Sicily.
- 2016 Seven Days, Rolando Colla
- 2016 Il Ministro, Giorgio Amato2014 Ioelei, Maria Sole Tognazzi
- 2012 Il venditore di medicine, Antonio Morabito
- 2010 Giochi d’estate, Rolando Colla
- 2003 Gente di Roma, Ettore Scola
- 2002 Passato Prossimo, Maria Sole Tognazzi
- 2001 Velocità Massima, Daniele Vicari
Olivier Lorelle, docteur en philosophie, d’abord auteur de théâtre, a écrit ou collaboré à l’écriture d’ une vingtaine de scénarios de films et de quelques téléfilms. Son plus gros succès public est Indigènes (César du scénario). Il a réalisé deux courts métrages, un téléfilm Arte, et vient de terminer un long métrage (“Ciel rouge”) qui sortira dans les salles en 2017.
Née en 1966 en Suisse, Nicole Borgeat est scénariste, réalisatrice et dramaturge. Après des études de réalisation à l’INSAS (Bruxelles), elle travaille comme assistante de production et de réalisation. Puis, elle commence un parcours éclectique et explosé, qui slalome du cinéma, au théâtre en passant par la télévision. Elle a écrit et réalisé des comédies, mais elle a aussi mis en scène des performances ou des écritures de plateau assez pointues, qui ont largement tourné sur les scènes européennes. Parmi les comédies qu’elle a écrites et réalisées, on compte Demain j’arrête» (2003), un court métrage sur les dépendances dont l’humour grinçant a été primé au Festival de Locarno et qui lui a valu d’être nominé pour le prix du cinéma suisse. On compte également le téléfilm Sauvons les apparences (2008), primé au festival Cinéma Tout Ecran, l’histoire d’un adolescent en surpoids, qui va rencontrer une jeune japonaise fan de sumo qui pense «qu’on n’est jamais assez gros». Elle développe actuellement son premier long métrage de fiction. «Le vaste monde», la cavale de deux adolescents qui ont enlevé leur éducatrice ainsi qu’une téléfilmTV pour la RTS. Elle travaille également comme dramaturge et comme consultante sur de nombreux scénarios, organise des séminaires pour la fondation FOCAL dans les domaines interprétation et réalisation et anime des ateliers de théatre autour de la démocratie avec des jeunes en rupture intitulés «Faut-il faire avec les cons ?»
Download Nicole’s credits here.
Lorenz Merz was born 1981 in Zurich from swiss-american parents. After formation in painting and photography he studied film at University of the Arts Zurich and Universidad del Cine Buenos Aires. His graduate piece Un dia y nada (2008) won several awards, including the Pardino d’argento at the 61st Locarno IFF and the Swiss Film Prize (2009). His first feature film Cherry Pie (2013), presented at 66th Locarno IFF, Rotterdam IFF and others, won international awards including the Luna de Valencia at the 28th Valencia IFF (2014). As DoP he won several awards and two times more the Swiss Film Prize for Summer Games (2011) by Rolando Colla and for Chrieg/War (2014) by Simon Jaquemet.
In 2013, he and fellow filmmakers founded the Zurich based production company 8horses. In 2015 he was part of the international Jury at the 68th Locarno IFF (Pardi di Domani) and the Neuchatel Fantastic IFF. Lorenz Merz is member of the EFA European Film Academy, the SFA Swiss Film Academy and the SCS Swiss Cinematographer’s Society. He’s father of two son’s, lives in Paris and Zurich.
2016 BEAST (in Development)
2013 CHERRY PIE
2008 UN DÍA Y NADA
2007 THE LITTTLE SAMURAI
2000 LOW TIDE
DOP CINEMA (Selection)
2015 7 DAYS
2014 WAR (CHRIEG)
2013 CHERRY PIE
2012 MILLIONS CAN WALK
2011 SUMMER GAMES
Université de Genève, Licence Ès Lettres 2004
École nationale de Cinéma et Télévision (PWSFTViT) Lodz, Pologne
FILMOGRAPHIE – Été 2016 (* Projets non-terminés/en post-production)
*Blue My Mind (titre de travail) – Long-métrage fiction. Réalisation: Lisa
Brühlmann. Production: Tellfilm/ZHdK. Filmé en Arri Alexa
*W – Long-métrage documentaire. Réalisation: Rolando Colla. Production: Peacock
Film. 2ème caméra. Filmé en Canon C100.
*L’île sans rivages – Long-métrage documentaire. Réalisation: Caroline Cuénod.
Production: Close Up Films. Filmé en Panasonic HVX-200
*Goliath – Long-métrage fiction. Réalisation: Dominik Locher. Production: Cognito
Films/ZHdK. Filmé en Arri Alexa
*Io sono Gaetano – Long-métrage fiction. Réalisation: Rolando Colla. Production:
Peacock Film. Filmé en Red Dragon
*Pescatori di Corpi – Long-métrage documentaire. Réalisation: Michele Pennetta.
Production: Close Up Films. Filmé en ARRI AMIRA
On avait dit qu’on irait jusqu’en haut ensemble – Court-métrage fiction.
Réalisation: Tizian Büchi. Production: Box Productions. Filmé en Sony F55
*Seven Days – Long-métrage Fiction. Réalisation: Rolando Colla. Production:
Peacock Film. Filmé en Red Dragon. Image co-signée avec Lorenz Merz
Raving Iran – Long-métrage documentaire. Réalisation: Susanne Meures.
Production: Christian Frei Filmproduktionen / Zürcher Hochschule der Künste
(ZHdK). Filmé en Canon C300/Canon 5D Mark III/iPhone 5
Festivals/Prix (Selection): Visions du Réel 2016, Prix du Jury SSA/
SF Reporter: Ghostrockz – Nationalität Breakdancer – Reportage de Télévision.
Réalisation: Nicole Vögele. Production: SF DRS. Filmé en Canon C300
Le doigt d’honneur – Court-métrage fiction. Réalisation: Malika Pellicioli.
Production: Close Up Films. Filmé en Canon C300
Occupy the Pool – Long-métrage fiction. Réalisation: Kim Seob Boninsegni.
Production: Offshore Productions. Filmé en Canon C300/Red Epic
La Vy au Loup – Court-métrage fiction. Réalisation: Camille de Pietro. Production:
Golden Egg Production. Filmé en Canon C300
Festivals: 20e Visions du Réel festival international de cinéma Nyon.
The Day of Trouble is near – Film de stylisme Nino Bollag. Réalisation: Reto Müller
et Rosalia Blum. Production: Nino Bollag. Filmé en Arri Alexa
’A Iucata – Moyen-métrage documentaire. Réalisation: Michele Pennetta,
Production: Close Up Films. Filmé en Canon C300PL
Kandahar Crystal Towers – Essai documentaire. Réalisation: Federico Berardi.
Production: Federico Berardi. Filmé en Super 16mm.
Karner 9 – Court-métrage fiction. Réalisation: Ivana Radmilovic. Production: Die
Idee Lulukulli. Filmé en Sony PMW-F3
Sam – Court-métrage fiction. Réalisation: Alice Riva. Production: Haute école d’Art
et de Design Genève (HEAD). Filmé en Sony PMW-F3
Festivals/Prix: Festival del Film Locarno 2012: Prix Action Light
Tacacho – Long-métrage documentaire. Réalisation: Felipe Monroy, Production:
Golden Egg production/Haute école d’Art et de Design Genève (HEAD). Filmé en
Festivals/Prix: Festival International du Film des Droits de l’Homme de Paris: Prix
de la maison d’arrêt de Fleury-Mérogis, 19e Visions du Réel Festival
international de cinéma Nyon, Festival Internacional del Nuevo Cine
Latinoamericano, DOK.fest Internationales Dokumentarfilmfestival München
Atlas et Orbis – Essai documentaire. Réalisation: Kari Sulc. Production: Film and
TV School of the Academy of Performing Arts Prague (FAMU). Filmé en Super
Festivals/Prix: FAMUFEST 2012: Mention spéciale
Des yeux partout – Moyen-métrage documentaire. Réalisation: Caroline Cuénod,
Production: Ecole cantonale d’Art Lausanne (ECAL). Filmé en Canon 7D.
Festivals: 19e Visions du Réel festival international de cinéma Nyon
*Eastern – Long-métrage documentaire. Réalisation: Franz Rickenbach, Production:
Franz Rickenbach. Caméra additionnelle, DOP Pio Corradi. Filmé en Super 16mm
Django Superstar – Court-métrage fiction. Réalisation: Ivana Radmilovic.
Production: Die Idee Lulukulli. Filmé en Sony PMW-F3
Le Début de la fin – Court-métrage fiction. Réalisation: Jean-François Vercasson.
Production: Haute école d’Art et de Design Genève (HEAD). Filmé en Canon 5D
Festivals/Prix (Selection): Kurzfilmtage Winterthur: Prix suisse de la Caméra,
Festival del Film Locarno: Mention spéciale. Solothurner Filmtage
On the Beach – Court-métrage fiction. Réalisation: Marie-Elsa Sgualdo. Production:
Box Productions. Filmé en Canon 5D Mark II
Les jolies filles ne pleurent plus – Court-métrage fiction. Réalisation: Gabriel
Gonzalez. Production: Haute école d’Art et de Design Genève (HEAD). Filmé en
Download Jurg Lempen’s filmography here.
Luciano Cammerieri was born in Terni – Umbria (Italy) May 14, 1968.
He graduated in Set Design at the Academy of Fine Arts in Florence (1990/91).
He began his career as assistant in the 1998 working with various set designers and set decorators; now he works as set decorator and production designer for movies, tv series and commercials, Italian and also foreign productions.
Heclectic artist, puts his passions at the disposal of the work; he’s also painter, illustrator, decorator, designer and interior designer.
Read his credits here.
Gabriele Salvatores – Kamikazen
Silvio Soldini – L’aria serena dell’ovest
Claudio Camarca – Cani metropolitani
Maurizio Zaccaro– Testa matta
Piergiorgio Gay– Stella Sonia Silvia
Rolando Colla – Le monde à l’envers
Rolando Colla– Oltre il confine
Rolando Colla – Operazione Stradivari
Rolando Colla – Giochi d’estate
Rolando Colla – 7 Days
Rolando Colla – Io sono Gaetano
J. Savary – La nuit des rois
Bob Wilson – 70 angels on the facade
N. Garella – La Boheme
T. Richter – L’italiana in Algeri
T. Richter – Die fliegenden Hollander
M. Navone – Aspettando Godot
M. Grigorov – Così fan tutte
S. Piccardi – La trilogia della villeggiatura
S. Piccardi – Dialoghi con nessuno
F. Valeri – La bruttina stagionata
P. Vecchiali – La parigina vedova
A .R. Shammah – La tempesta
A. R. Shammah – Ondine
A.R. Shammah – La Maria Brasca
W. Le Moli – Il gabbiano
L. Puggelli – Il giuramento
L. Puggelli – La Straniera
L. Puggelli – I puritani
G. Testori – Filippo
Exacoustos/Cincinnati – Der Tor und der Tod, der weisse Facher
Mélissa Petitjean was born on June 12, 1978. She is known for her work on “Age of Uprising: The Legend of Michael Kohlhaas”(2013), “A Christmas Tale (2008) and “Comment j’ai marché sur la lune“(2003).
Download her credits here.
2nd October 2016
18th November 2016
Premio Corso Salani / Italian Screenings
January 20th – 29th
- RELEASE DATE IN SWITZERLAND: 24. November 2016
- Lunchkino-Special on Tuesday, 22nd of November at 12h15 in the cinema Arthouse Le Paris in Zurich, Rolando Colla, Linda Olsansky and Elena Pedrazzoli will be there
- Screenings in the presence of the director Rolando Colla:
- Tuesday, 22nd November, 12h15, cinema Arthouse Le Paris in Zurich
- Tuesday, 22nd of November, ca. 20h, cinema Movie 2
- Thursday, 24th November, 20h00, KinoK in St. Gallen
- Friday, 25th November, 20h00, cinema Scala in Schaffhausen
- Monday, 28th November, 18h30 at cinema Movie in Bern
- Tuesday, 22nd December, ca. 19h, Stattkino Luzern
- From the 24th of November 2016 (and later)
- cinema Freier Film Aarau
- cinema Sterk in Baden
- Kult.kino Atelier in Basel
- cinema CineMovie in Bern
- cinema Lido in Biel
- cinema Madlen in Heerbrugg
- Inskino in Ins
- Stattkino in Luzern
- cinema Filmverein in Olten
- cinema Kiwi Scala in Schaffhausen
- KinoK in St. Gallen
- cinema Loge in Winterthur
- cinema Movie in Zurich
- From December 1st 2017:
- Kinocenter in Chur
- Kino Orion in Dübendorf
- Neues Kino in Freienstein
- Kino Lichtspiele in Olten
- Kino Roxy in Romanshorn
- Cinema Stüssihof in Zürich
- In Ticino from 12th January 2017:
- Rialto il cinema in Locarno, director Rolando Colla will be in attendance
- Cinema Lux in Lugano, director Rolando Colla will be in attendance
- Sala Teatro in Mendrisio
- Cinema Forum in Bellinzona
- From 8th March 2017 in French-speaking Switzerland (Romandy):
- 11/12.3.17 director Rolando Colla will be in attendance;
- in Neuchâtel
- in La Chaux-de-Fonds
- 8th of March at Cinéma Les Scala Première in Geneva : main actor Bruno Todeschini and director Rolando Colla will be in attendance
- 9th of March at Cinéma Pathé in Lausanne: main actor Bruno Todeschini and director Rolando Colla will be in attendance
- 10th of March at Cinéma Royal in Sante-Croix : director Rolando Colla will be in attendance
Press review SETTE GIORNI – SEVEN DAYS (in English)
This bitter-sweet Mediterranean drama is a lyrical portrait of a late summer love. Sensually rich and sumptuously shot, never less than gorgeous. Todeschini’s performance has the grain of authenticity. 7 Days is a ravishing feast for the eyes and ears, a poetic love letter to love itself.
Stephen Dalton, The Hollywood Reporter (7.12.16)
Seven Days; between love, fury and rationality
“Sette Giorni” was a highlight of this year’s Zurich Film Festival; a touching drama that deals with love, fury and rationality. The audience is obliged to face, together with the characters, the strongest conflict but also the most common. Should one fight for love or is it better to suppress one’s feelings over rationality? “Sette Giorni” finds an answer – and if it’s the right one, it remains open, just like in real life.
Miriam Lenz, Zentralschweiz am Sonntag, (2.10.16)
For the short-term lovers, Colla found two great actors, the Swiss Bruno Todeschini (nominated for the César in 2004 and winner of the Lumière Prize) that makes us participate with empathy in the rollercoaster of Ivan’s emotions, swinging between passion and surrender. The Italian actress Alessia Barela, as well, embodies her role with a strong presence and authenticity. Colla vividly illustrates that we can’t control our feelings while falling in love and that there is no compromise: we either go through hell or we live great happiness.
Kinok.ch, European Art Cinema Day
Rolando Colla with “Sette Giorni” created a magnificent film, which is full of life and love. The settings are dreamlike, the actors Bruno Todeschini and Alessia Barela are touching and the fascination of the Italian south, of which the film is surrounded is more than appropriate.
Not only the setting and the music are poetry, also the two main actors acting in great freedom. They are able to light a fire, that never extinguishes.
Colla is an aesthete, every shot is harmonic up until the tiniest detail, nothing is left to chance, no picture seem to be out of place.
It is 96 minutes of poetry that Colla brings to the screen. 96 minutes of passion, 96 minutes of love in details, 96 minutes of life’s joy but also 96 minutes of deep pain.
Outnow.ch, 5.5 su 6 stelle (30.09.16)
A wonderful film, a great gift. I love its breath and admire its belief in the transformative power of love.
Lukas Bärfuss, Swiss Book prize 2014
“Sette Giorni” was a highlight of this year’s Zurich Film Festival; a touching drama that deals with love, fury and rationality.
Miriam Lenz, Zentralschweiz am Sonntag
“Seven Days” Press Conference at Tallinn Black Nights Film Festival 2016 – YouTube
Original music by Bernd Schurer
LA MAREE HAUTE
performed by Lhasa De Sela
Written by François Lalonde, Jean Marie Massicotte, Riad Malek and Lhasa De Sela
(P) 2003 Les Disque Audiogrammes
Courtesy of WARNER MUSIC Group Germany Holding GmbH. A Warner Music Group Company
2003 © Editorial Avenue c/o Peermusic (UK) ltd
Performed by The Cramps (Rorschach – Interior)
© EMI Music Publishing Italia S.r.l.
Courtesy of Vengeance Records, by arrangement with Sub Pop Licensing
Guitar: Pietro Amato
Mandolin: Gianni Sozzi
Accordion: Salvatore Pitti
Choir Rosa Mistretta (soloist)
Francesca Lo Bello
Lina Angela Mauro
Conductor: Vincenzo Marino
Download the music list here.