Visiting Venice with kayak

Kayaking in Venice: who needs a gondola?Forget water taxis and tourist rides, if you want a fresh perspective on La Serenissima, jump in a kayak and paddle up to St Mark’s Square

kayaking-in-veniceIt’s rush hour and there’s a traffic jam on the Grand Canal. Popping out into the canal from one of the narrower waterways is a trio of gondolas; hurtling towards them is the number-one vaporetto (water bus) loaded with its summer cargo. So far so familiar, but in the midst of this waterborne whirl of gondolas, buses, taxis, pleasure and motorboats there’s me, in a kayak, with a honking, crane-bearing delivery boat up my backside.

Spying what I thought was an available gap I’d sneaked into it so I could take some photos – but I’d parked in front of a restaurant and there was a Coke fridge to deliver. Under the watchful eye of the deliveryman, and scores of tourists peering down at us from the Rialto bridge, I began to manoeuvre out, using my paddle as a rudder to sharpen the turn. As I started the home run towards René, my kayak guide waiting for me on the other side of the bridge, my biceps felt like they’d done three rounds on a cheese grater. But I did it, without crashing or crying, and even got a wink of approval from the deliveryman – high praise indeed in Venice.

Unlikely though Venice by kayak sounds, it really is possible. My fellow kayaker Brian, the most diminutive and softly spoken Texan one could hope to meet – and who had never set foot in a kayak before – was living proof that a sense of adventure and an affinity with water counts far more than bulging biceps (although you might have them by the time you’ve finished). But don’t just rock up with an inflatable, as some fools have done. Go with someone who knows and respects the city, understands the vagaries of its weather and tides and, most importantly, obeys the waterways’ unwritten rules.

With his Venetian colleague Marco, René Seindal, a strapping Dane who has made Venice his home by marrying his passion for rowing with a canny business venture, offers day trips and night paddles, lagoon tours and week-long tailored trips. Their base is at Camping San Nicolò, a pretty, well-run campsite at the western end of the Lido, and an eight-minute bus ride from the island’s vaporetto terminal. The Lido is a good springboard into the rest of the lagoon, while Venice itself is only a half-hour paddle away.

René reads Venice’s maps by its canals. “I get lost on the streets but not down here,” he told me, reassuringly. I’m with him. Having spent weeks veneziacombing its tangle of streets like a blind, spatially challenged beetle I found meandering along Venice’s canals in a kayak serene in the extreme. The price tag for the equivalent number of hours in a gondola would run into thousands – captain of your kayak, €100 per day; 40 minutes on a gondola, €80 – but the freedom to linger by this bridge, or that moss-slicked palazzo, is priceless.

Things rarely got as hairy as my Rialto three-point turn – unless you count the incident when, after butting a moored gondola just in front of the Bridge of Sighs and ricocheting into the wall (sorry, Unesco) I sat trapped in a strong current like a lemon, until a kindly gondolier gave me a shove with his oar.

We shared the canals with police boats, fire engines, funeral hearses, ambulances, taxis and, early one morning, the bin men (tanned and Ray-Ban Aviator-chic) – the workaday Venetians that keep the city ticking over. Roaming the rii (smaller canals), we paddled with gondoliers who didn’t mind us – we shared the same foe: moto ondoso, or the wake caused by motorcraft – and started to recognise Venice for what it is: an archipelago of tiny islands linked by bridges.

One afternoon we paddled right into San Marco and bobbed about in a “safe zone” near the Doge’s Palace, grinning at the cheek of it. Between paddling there were the obligatory gelato stops, lazy lunches and conversations with Brian about why he has never heard of JR or Dallas.

Besides the obvious appeal of kayaking the canals of Venice, there’s the entire lagoon to paddle in. A refreshing contrast to the constraints of the city, the lagoon’s wide-open shallows also offer a fresh perspective on Venice itself – one small if significant piece of an aquatic jigsaw.

venice_gondola“Most people visit Venice and think they’ve seen the city but there’s a thousand years of history right here,” said René, running the gloopy silt of the lagoon floor though his fingers as we paddled out from the kayak base on the Lido one morning. “This is the mud Venice was built on.”

Part lake, part estuary, part sea, the lagoon is fed by the Adriatic via three inlets and comprises thousands of acres of mud flats and salt marshes speckled with islands – some inhabited; others deserted and littered with curious military installations, forgotten island monasteries, isolation hospitals and lunatic asylums. Tricky to reach as a tourist, the islands are blissfully accessible by kayak. On spooky Madonna del Monte, we scrambled through brambles and undergrowth to reach the sprawling shell of a monastery being slowly reclaimed by nature.

At the other extreme, on tiny, tranquil San Francesco del Deserto, we wandered through a manicured oasis of cypresses to reach a medieval monastery in far better nick. After being guided round by a Fransiscan brother – the order that has inhabited the island since the 12th century – we sat in its gardens eating peaches.

The Venetian lagoon is one of the world’s most famous under threat eco-systems, being transformed by erosion, high waters and wave motion. Yet it is home to egrets, wading birds, butterflies, frogs and even the occasional hidden beach. Out here, in its endless shallows, you can recline on your kayak in silence, and pick out the runway at Marco Polo airport (flanked on a clear day by the shadowy hulk of the Dolomites) or Venice herself, identifiable by her comically crooked campanile piercing the sky.

Venice’s legendary weather fronts added an extra dimension, and although bent on outsmarting the forecasters, René’s scientific gadgets cut us little slack in the occasional thunderstorm that threw us off course. Paddling furiously under the brooding skies of an approaching storm towards a horizon fired by lightening was matched only by the surprise on Brian’s face on being slapped round the chops by a fish that jumped our kayaks one sultry afternoon.

One evening we paddled to the market-garden island of Vignole for squid-ink spaghetti and a side order of sunset at Trattoria Alle Vignole (              +39 041 5289707         +39 041 5289707) before heading into Venice for a night tour of the city. The canals were practically ours, and as I peered into windows and down cramped canyons I snatched glimpses of another Venice: a man in underpants brushing his teeth, an illuminated ceiling fresco, a cassocked friar dribbling a football. Just after midnight we were back on the Grand Canal. The gondolas, vaporettos and all of Venice was sleeping and for the half hour or so that it took us to paddle down it we were kings of the canal, commanding the stage in the greatest show on Earth.

Becoming part of the show is a curious flipside of kayaking around Venice. Locals stared, tourists took photos and strangers shouted “Where can we rent the kayaks?” As we left San Marco via the Bridge of Sighs after our thrilling 20-minute bob, I was distracted by a small hand poking venice-5through one of the stone grills, to wave at me. The enclosed bridge gave prisoners their last tantalising glimpse of Venice before being led to their cells in the Doge’s Palace. Craning my neck in search of a face I waved back – and crashed into a gondola.

The Venetian lagoon is one of the world’s most famous under threat eco-systems, being transformed by erosion, high waters and wave motion. Yet it is home to egrets, wading birds, butterflies, frogs and even the occasional hidden beach. Out here, in its endless shallows, you can recline on your kayak in silence, and pick out the runway at Marco Polo airport (flanked on a clear day by the shadowy hulk of the Dolomites) or Venice herself, identifiable by her comically crooked campanile piercing the sky.

Venice’s legendary weather fronts added an extra dimension, and although bent on outsmarting the forecasters, René’s scientific gadgets cut us little slack in the occasional thunderstorm that threw us off course. Paddling furiously under the brooding skies of an approaching storm towards a horizon fired by lightening was matched only by the surprise on Brian’s face on being slapped round the chops by a fish that jumped our kayaks one sultry afternoon.

Venice for a night tour of the city. The canals were practically ours, and as I peered into windows and down cramped canyons I snatched glimpses of another Venice: a man in underpants brushing his teeth, an illuminated ceiling fresco, a cassocked friar dribbling a football. Just after midnight we were back on the Grand Canal. The gondolas, vaporettos and all of Venice was sleeping and for the half hour or so that it took us to paddle down it we were kings of the canal, commanding the stage in the greatest show on Earth.

Becoming part of the show is a curious flipside of kayaking around Venice. Locals stared, tourists took photos and strangers shouted “Where can we rent the kayaks?” As we left San Marco via the Bridge of Sighs after our thrilling 20-minute bob, I was distracted by a small hand poking through one of the stone grills, to wave at me. The enclosed bridge gave prisoners their last tantalising glimpse of Venice before being led to their cells in the Doge’s Palace. Craning my neck in search of a face I waved back – and crashed into a gondola.

from THE GUARDIAN

Spot Videocracy banned from Rai and Mediaset

Both RAI and Mediaset ban spots for ‘Videocracy’
Doc links Italy’s cultural decay to Berlusconi empire

By MICHAEL DAY

Videocracy_posterWhen the Mediaset TV empire controlled by Italo Prime Minister Silvio Berlusconi banned spots for Swedish-Italian helmer Erik Gandini’s “Videocracy,” hardly anyone blinked.
After all, the doc, which unspooled at the Venice film fest, links moral and cultural decay in Italy with the rise of Berlusconi’s TV channels.

However, eyebrows began to rise when pubcaster RAI also refused to play the trailers, deeming the pic “offensive to the honor and personal reputation of the prime minister.” The move fueled suspicions that Berlusconi was leaning on the state-run broadcaster, whose governors are his political appointees.

Absent the ability to promote the film on Italy’s main TV channels, Gandini is largely left preaching to the converted rather than drawing in more mainstream auds.

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Gandini has said the film was prompted by his experience of foreigners sniggering at Berlusconi’s astonishing degree of control over Italians’ access to information.

Auds will now have to discover for themselves how wide that control really extends.

by VARIETY.COM

Contdown for Biennale’s Award

Countdown to coveted award at Venice film festival
A handful of movies Saturday led the pack of 25 vying for the coveted Golden Lion at the Venice film festival including late-screener “A Single Man” by Tom Ford.
The fashion designer’s first feature film, about a gay man mourning his longtime partner, joined the A-list with “Lebanon” by Israeli Samuel Maoz, Todd Solondz’s dark comedy “Life During Wartime” and miracle story “Lourdes” by Austrian filmmaker Jessica Hausner.
Of those, Maoz’s “Lebanon” may have the edge, according to leading Italian daily Corriere Della Sera and the local paper, Il Gazzetino, as well as Variety magazine.
In the film shot entirely from inside a tank assigned to search a town that had been bombed by Israeli warplanes, four young soldiers play out a tense interpersonal drama as the action unfolds outside, seen through the gunner’s sight.
The intensely personal project tells the story of the first Lebanon war, reliving the director’s own experience as a young Israeli soldier in 1982.
In “A Single Man,” Ford, 48, offers a moving snapshot of life as a homosexual more than four decades ago, at the time of the Cuban missile crisis.
The adaptation of Christopher Isherwood’s landmark 1964 novel on Friday won the unofficial Queer Golden Lion for movies with gay themes or content.
Solondz’s “Life During Wartime” reprises the main characters of his 1998 film “Happiness,” exploring tortured consciences and self-destructive lives in a heavily Jewish southern Florida locale where people are peripherally aware that the nation is at war.
In addition to the Golden Lion for best film, the jury headed by Taiwan’s Ang Lee — the Oscar-winning director of “Brokeback Mountain”, about the forbidden love of two gay cowboys — will recognise a best actor and best actress from among the 25 contenders.
Favourites for acting nods include Isabelle Huppert in Claire Denis’ “White Material,” Sylvie Testud in “Lourdes” and Margherita Buy in Francesca Comencini’s “The White Space.”
Dane Viggo Mortensen turned in an impressive performance in John Hillcoat’s “The Road,” as did Michael Shannon in “My Son, My Son, What Have Ye Done” by Werner Herzog.
But they could be sidelined by Colin Firth, who played mourning professor George Falconer in “A Single Man.”
Firth’s performance was so warmly received at Friday’s screening that the reviewer in the daily La Repubblica feared “massive protest marches” if he does not win the Volpi Cup for best actor, noting that he speaks Italian well, being married to Italian documentarist Livia Giuggioli.
The awards ceremony was set to begin at 7:00 pm (1700 GMT) at the Lido’s Palazzo del Cinema.
Also Saturday, director, screenwriter and actor Sylvester Stallone was set to be the first American to be awarded the Jaeger-LeCoultre Glory to the Filmmaker Award for artists who have left their mark on contemporary cinema.
by: AFP

Countdown to coveted award at Venice film festival

golden_lionA handful of movies Saturday led the pack of 25 vying for the coveted Golden Lion at the Venice film festival including late-screener “A Single Man” by Tom Ford.

The fashion designer’s first feature film, about a gay man mourning his longtime partner, joined the A-list with “Lebanon” by Israeli Samuel Maoz, Todd Solondz’s dark comedy “Life During Wartime” and miracle story “Lourdes” by Austrian filmmaker Jessica Hausner.

Of those, Maoz’s “Lebanon” may have the edge, according to leading Italian daily Corriere Della Sera and the local paper, Il Gazzetino, as well as Variety magazine.

In the film shot entirely from inside a tank assigned to search a town that had been bombed by Israeli warplanes, four young soldiers play out a tense interpersonal drama as the action unfolds outside, seen through the gunner’s sight.

The intensely personal project tells the story of the first Lebanon war, reliving the director’s own experience as a young Israeli soldier in 1982.

In “A Single Man,” Ford, 48, offers a moving snapshot of life as a homosexual more than four decades ago, at the time of the Cuban missile crisis.

The adaptation of Christopher Isherwood’s landmark 1964 novel on Friday won the unofficial Queer Golden Lion for movies with gay themes or content.

Solondz’s “Life During Wartime” reprises the main characters of his 1998 film “Happiness,” exploring tortured consciences and self-destructive lives in a heavily Jewish southern Florida locale where people are peripherally aware that the nation is at war.

In addition to the Golden Lion for best film, the jury headed by Taiwan’s Ang Lee — the Oscar-winning director of “Brokeback Mountain”, about the forbidden love of two gay cowboys — will recognise a best actor and best actress from among the 25 contenders.

Favourites for acting nods include Isabelle Huppert in Claire Denis’ “White Material,” Sylvie Testud in “Lourdes” and Margherita Buy in Francesca Comencini’s “The White Space.”

Dane Viggo Mortensen turned in an impressive performance in John Hillcoat’s “The Road,” as did Michael Shannon in “My Son, My Son, What Have Ye Done” by Werner Herzog.

But they could be sidelined by Colin Firth, who played mourning professor George Falconer in “A Single Man.”

Firth’s performance was so warmly received at Friday’s screening that the reviewer in the daily La Repubblica feared “massive protest marches” if he does not win the Volpi Cup for best actor, noting that he speaks Italian well, being married to Italian documentarist Livia Giuggioli.

The awards ceremony was set to begin at 7:00 pm (1700 GMT) at the Lido’s Palazzo del Cinema.

Also Saturday, director, screenwriter and actor Sylvester Stallone was set to be the first American to be awarded the Jaeger-LeCoultre Glory to the Filmmaker Award for artists who have left their mark on contemporary cinema.

by: AFP

Venice film fest for Iran

Venice film festival gives voice to Iranian opposition
The Venice film festival is providing a timely forum for Iranian works such as Shirin Neshat’s “Women Without Men” amid crackdowns on opposition groups disputing the June elections in their country.
Thursday saw the screening of “Green Days”, the second feature-length film of Hana Makhmalbaf, 21, the daughter of filmmaker Mohsen Makhmalbaf.
Made since the election, the film uses news footage including the killing of Neda Agha-Soltan, who became a symbol of martyrdom for the cause of freedom and democracy in Iran.
In “Green Days,” the central character Ava is a young woman suffering from depression who fails to catch the spark of enthusiasm for the elections. Rather, she heads out into the streets to seek dialogue with compatriots she sees as mere dreamers.
Neshat made her directorial debut Wednesday with “Women Without Men,” dissecting Iranian society at the time of the 1953 CIA-backed coup that overturned the nationalist government of Mohammed Mossadegh and installed the Shah in power.
Against that backdrop, four women — a prostitute, an activist, a cosmopolitan woman and a traditional young girl — fight for individual freedom and independence, winding up together at an idyllic orchard in the countryside.
“The four characters are who I am — every one of them carries some personal dilemma, though it is not exactly autobiographical,” the young photographer and visual artist told reporters.
Based on a novel by Shahrnush Parsipur, the film vying for the prestigious Golden Lion here is dedicated to “those who lost their lives fighting for freedom and democracy in Iran, from the constitutional revolution of 1906 to the Green Movement of 2009.”
Neshat said: “This film speaks to the Iranian people and the world. We have been struggling for over 100 years, and we will not give up. … We will get there one day.”
In the film, partisans of Mossadegh march in the streets before being crushed on the orders of Shah Mohammed Reza Pahlavi.
“Dictators have changed in form and shape and ideology, but the struggle for liberation still goes on,” said Neshat, wearing green, the colour of the Iranian reformist movement.
Amirali Navaee has two short films in the festival, “As I Was Leaving My City” and “My Atomic Beloved.”
In the first, the camera focuses on the legs of a dancing man, passing by those of a beggar, a sweeper, and someone who is being handcuffed by police.
“My Atomic Beloved” shows a young man rushing through the house of his ex-girlfriend 12 hours before an atomic bomb strikes Tehran.
The short films are part of the Venice Days section, which this year paid homage to the “resistance” of Iranian cinema.
The selection also includes “Muli,” a black-and-white animation by Marjon Farsad, about a little girl who dreams of becoming a scientist but lives with the fear of “not being able to play again, one day.”
Other Iranians featured in Venice are Hana Kamkar with “Shahrzad” and dissident Arash Irandoost with “Paper Airplane.”
And for International Critics’ Week, another Venice filmfest programme, Nader T. Homayoun offered his film noir “Tehroun” exploring the underbelly of the Iranian capital.
by: AFP

Venice film festival gives voice to Iranian opposition

neshatThe Venice film festival is providing a timely forum for Iranian works such as Shirin Neshat’s “Women Without Men” amid crackdowns on opposition groups disputing the June elections in their country.

Thursday saw the screening of “Green Days”, the second feature-length film of Hana Makhmalbaf, 21, the daughter of filmmaker Mohsen Makhmalbaf.

Made since the election, the film uses news footage including the killing of Neda Agha-Soltan, who became a symbol of martyrdom for the cause of freedom and democracy in Iran.

In “Green Days,” the central character Ava is a young woman suffering from depression who fails to catch the spark of enthusiasm for the elections. Rather, she heads out into the streets to seek dialogue with compatriots she sees as mere dreamers.

Neshat made her directorial debut Wednesday with “Women Without Men,” dissecting Iranian society at the time of the 1953 CIA-backed coup that overturned the nationalist government of Mohammed Mossadegh and installed the Shah in power.

Against that backdrop, four women — a prostitute, an activist, a cosmopolitan woman and a traditional young girl — fight for individual freedom and independence, winding up together at an idyllic orchard in the countryside.

“The four characters are who I am — every one of them carries some personal dilemma, though it is not exactly autobiographical,” the young photographer and visual artist told reporters.

Based on a novel by Shahrnush Parsipur, the film vying for the prestigious Golden Lion here is dedicated to “those who lost their lives fighting for freedom and democracy in Iran, from the constitutional revolution of 1906 to the Green Movement of 2009.”

Neshat said: “This film speaks to the Iranian people and the world. We have been struggling for over 100 years, and we will not give up. … We will get there one day.”

In the film, partisans of Mossadegh march in the streets before being crushed on the orders of Shah Mohammed Reza Pahlavi.

“Dictators have changed in form and shape and ideology, but the struggle for liberation still goes on,” said Neshat, wearing green, the colour of the Iranian reformist movement.

Amirali Navaee has two short films in the festival, “As I Was Leaving My City” and “My Atomic Beloved.”

In the first, the camera focuses on the legs of a dancing man, passing by those of a beggar, a sweeper, and someone who is being handcuffed by police.

“My Atomic Beloved” shows a young man rushing through the house of his ex-girlfriend 12 hours before an atomic bomb strikes Tehran.

The short films are part of the Venice Days section, which this year paid homage to the “resistance” of Iranian cinema.

The selection also includes “Muli,” a black-and-white animation by Marjon Farsad, about a little girl who dreams of becoming a scientist but lives with the fear of “not being able to play again, one day.”

Other Iranians featured in Venice are Hana Kamkar with “Shahrzad” and dissident Arash Irandoost with “Paper Airplane.”

And for International Critics’ Week, another Venice filmfest programme, Nader T. Homayoun offered his film noir “Tehroun” exploring the underbelly of the Iranian capital.

by: AFP