In Italy, according to Assaeroporti‘s updated figures, there is a total of 46 airports open to commercial traffic Taking into account also the non-commercial facilities can only concern the biggest Italian airports meaning those that attract large flows of national and international travellers In this regard, it is worth noting that in 2023 a record was set for the total number of passengers hosted by Italian airports: last year Italian airports received as many as 197.2 million people registering an increase of 2.1% compared to the previous record the record was also achieved thanks to the full recovery of the international segment which alone attracted 128 million passengers But which airports were the most used by these huge masses of people? To answer this question, let us find out which are the biggest and busiest airports in Italy In this ranking, we will list the top 10 busiest Italian airports based on the figures registered in 2023 we will then also analyse some data concerning the size and significance of the airport Rome Fiumicino Airport is the biggest airport in Italy totalling no less than 40.5 million passengers in 2023 As will become clear as we continue our ranking of Italy’s busiest airports the gap between Rome’s airport and other Italian airports is considerable Rome-Fiumicino “Leonardo da Vinci” International Airport is an intercontinental airport located 30 kilometres south-west of Rome Inaugurated in 1961 (after the discovery of five ancient Roman ships during excavations) it has been expanded several times over the years: in 2022 the new boarding area A in Terminal 1 was inaugurated adding 23 new gates to the airport and improving its capacity to manage passenger traffic efficiently The second biggest Italian airport by number of passengers is Milan-Malpensa Airport located in the municipalities of Somma Lombardo If Fiumicino is Italy’s biggest airport in terms of passenger traffic is the national leader in terms of cargo traffic processing 65% of the air cargo transported in Italy with 665,655 tonnes Malpensa Airport has 2 terminals and 2 runways it has undergone significant developments to enhance connectivity and passenger experience Rounding out the podium of Italy’s biggest airports by number of passengers is Bergamo-Orio al Serio Airport the airport received 16 million passengers in 2023 Il Caravaggio International Airport – such is the airport’s official name – is located 5 kilometres from the centre of Bergamo and 50 kilometres from the centre of Milan but much shorter in length than the examples already seen: indeed there is a runway measuring 2,940 metres and a second runway that is 750 metres long Among Italy’s international airports, the fourth biggest one is Naples Airport, with 12.4 million passengers in 2023. Naples-Capodichino Airport is located north of the Parthenopean city (about 4 kilometres away) and is the most important airport in the South of Italy since the first exhibitions of military aircraft began here; the civil air terminal was inaugurated in 1919 which has recently been expanded to cater for the growing number of passengers and international flights The fifth biggest airport is Venice Airport Marco Polo Airport is the lagoon city’s international airport 2,890 metres and 3,300 metres long respectively The airport plays a crucial role in connecting Venice with major European and international destinations making it a key hub for both tourism and business travel The sixth place is occupied by the first island airport for passenger traffic in Italy, Catania Airport Officially named Aeroporto di Catania-Fontanarossa it was built in 1924 and expanded several times; the last major works were completed in 2006 the Catania-Rome route is the busiest at a national level Another peculiarity of the airport is that it is strongly affected by volcanic ash in the occasional eruptions of the neighbouring Etna: for this reason the airport has a special radar to monitor the approaching volcanic ash clouds and has seen continuous investment in infrastructure improvements The seventh biggest one among the airports in Italy is located in Emilia-Romagna albeit in a location that was further away from the centre than it is today it hosted 10 million passengers; the airport has a runway that is 2,800 metres long Bologna Airport serves as a crucial transport link between northern and central Italy The third one among the airports of Milan system in 2023 received a total of 9.4 million passengers; located between the municipality of Segrate and that of Milan It primarily serves domestic and short-haul European flights making it an essential hub for business travel We return to Sicily for the ninth place in the ranking of Italy’s biggest airports Palermo-Punta Raisi’s Falcone e Borsellino International Airport hosted 8.1 million passengers in 2023 with its two runways measuring 3,326 metres and 2,068 metres Its proximity to key Mediterranean routes makes it an important gateway for tourism and trade Choose from the categories that interest you to recive the latest articles just published. 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His features — all of which play in a career retrospective at the Film Society of Lincoln Center in New York until June 28 — often take place in long-vanished epochs and seem indifferent This is particularly true of the films Visconti completed in the last decade of his life — taken together they’re a kind of middle finger aimed at his critics with every insult that had been leveled against his earlier work — “melodramatic,” “bloated,” “indulgent” — embraced and raised to the nth degree “It’s in later years,” the critic Richard Brody wrote to give less of a shit than they did when they were younger to affirm their ideas and their passions with less inhibition.” The films Visconti made between 1969 and 1973 — “The Damned,” “Death in Venice” and “Ludwig” — are fascinating examples of what happens when a great director with almost limitless money and prestige stops giving a shit what people think of his work They’re also — quite appropriately — unmatched meditations on the theme of excess: its ecstasies In setting out to make these sorts of films which tend to be slower and denser than their predecessors the Count had the massive advantage of not needing the money The Viscontis had ruled Milan in the early Renaissance and remain politically and financially influential in Italy to this day Their coat of arms depicts a serpent swallowing a man “I will not violate the customs of the serpent” — that suggests how the family got its filthy lucre in the first place no expense was spared in the young Visconti’s upbringing; opera and classical music played a big part in his childhood he won acclaim as a breeder of racehorses before leaving for Paris to try his hand at filmmaking under the influence of the great director Jean Renoir that Visconti began a lifelong romance with Marxism a stance that earned him his fair share of sneers—Salvador Dali once dismissed him as “a Communist who only likes luxury.” Like other great artists accused of hypocrisy Visconti won the only argument that mattered by directing a string of extraordinary films many of them about the working classes and still celebrated as milestones of Neorealism Cain’s “The Postman Always Rings Twice,” set a template for his mature work: sensational (the plot revolves around two lovers trying to kill the woman’s husband); attuned to the tempos and textures of everyday life (key scenes play out in seedy hotel rooms or in the kitchen while characters fix food); long (two and a half hours tell basically the same story Cain got across in a hundred pages); for many years shown exclusively in censored “Ossessione” belongs on a list of Visconti’s early masterpieces his epic account of Sicilian fishermen struggling for economic freedom His most beloved films may be the two he completed in the early sixties: “Rocco and His Brothers” (1960) the story of a working-class Milanese family torn apart by lust and ambition about a 19th-century nobleman trying to protect his own family from being torn apart by the Risorgimento (the formation of the modern Italian state) This quintet has tended to get the bulk of the attention from critics and audiences—though it’s overshadowed the challenging but ultimately more compelling trio that followed soon after and “Ludwig” (1973) — known collectively as the German Trilogy for their Teutonic settings imposing sets; the blasts of Mahler and Wagner; the interminable running time (altogether the trilogy clocks in at eight and a half hours; “Ludwig” by itself is nearly four) Like the cavernous rooms in which they play out the three films can feel nauseatingly ornate full of thrice-gilded surfaces and mazelike passageways The dizzying too-muchness of the trilogy’s aesthetic is matched only by its tone somehow tragic and giddy and grotesque and funny and horrific and stickily sentimental all at once like an old geezer smearing his face with makeup to hide his wrinkles Baroque works frequently in danger of drowning in their own artifice Visconti makes almost no effort to get us to like the protagonists of these films — they’re ciphers prisoners of obsessions we can’t possibly share In “Death in Venice,” there is sickly composer Gustav von Aschenbach drooling over an adolescent boy; Ludwig II of Bavaria blowing fortunes on opera houses while the Prussian army prepares to invade which functions as the collective protagonist of “The Damned.” Visconti dispenses with the most likeable of the bunch before the half-hour mark leaving the rest to collapse into murder and incest in the shadow of the Third Reich In part because they’re all we’ve got — we cling to them But they’re also possessed of a perverse charisma Visconti seems to be struggling to work out his own feelings towards his characters and his material — and toward the life of luxury he’d known since the day he was born Openly gay for nearly his entire adult life Visconti was nearly fifty when he first laid eyes on the young Austrian actor Helmut Berger Berger attempted suicide.) Berger took major roles in four Visconti films the most fascinating and despicable of the Essenbecks in “The Damned,” and the titular Ludwig captures his muse’s pretty face in breathtaking In “The Damned,” the camera lingers on Berger’s pale skin gaping mouth (several times I found myself thinking of David Bowie in Nicolas Roeg’s “The Man Who Fell To Earth”) content at first to follow the script that’s been written for him then spiraling out of control in the film’s apocalyptic final act Something similar could be said for the narcissistic Wagner addict Berger plays in “Ludwig,” or for Aschenbach brought to life by onetime English matinee idol Dirk Bogarde In Visconti’s version of “Death in Venice,” as in Thomas Mann’s 1924 novella Aschenbach heads to Italy for R&R but quickly finds his plans derailed by a young who seems to satisfy the composer’s aesthetic and erotic thirsts even though they never speak to one another changed the character’s profession.) The film’s ending features another sublime closeup this one of Bogarde’s puffy face covered with half-melted rouge contemplating Tadzio and the future the boy will grow up to inherit Both “Ludwig” and “The Damned” begin with coronation scenes in which an older patriarch hands off the torch to an untried heir And this points to one of the oddest things about these exceptionally odd films: they revolve around troubled alienated characters who seem cut off from the world at large but they’re also deeply concerned with how the world at large — the modern European world close-knit group as a microcosm for society a way of understanding how one historical era gave way to the next The German Trilogy finds him focused on the decades leading up to the rise of Fascism in Western Europe trying to understand how things went so wrong It’s a well-worn cliché that the late Romantic early Modernist period was a self-indulgent time full of gross economic excess and wild sexual experimentation and the German Trilogy includes plenty of both — homosexual orgies are the centerpiece scenes of both “Ludwig” and “The Damned.” But Visconti has something more than sensationalism in mind: the orgy in “The Damned” ends in a massacre with the erotic red light of the beerhalls giving way to the red insignias of the Nazi executioners’ armbands Whenever Visconti foregrounds Dionysian decadence he keeps half an eye on the horrors that would follow decadence and sexual experimentation of the far Left is one of the key themes of postwar cinema from “The Conformist” (directed by Visconti’s protégé Bernardo Bertolucci) to “Cabaret” (featuring a scene in which images of cross-dressing dancers are intercut with goose-stepping stormtroopers) to “Berlin Alexanderplatz” (whose director thought “The Damned” the greatest film he’d ever seen) that link consists of probably will be debated forever but these works all seem to point to a disturbing kinship between the two ideologies one of the few characters in “The Damned” who categorically opposes the Nazis “All we have done is give Germany a sick democracy … Nazism is our creation.” One disturbing theory that the German Trilogy raises is that blithe fin de siècle permissibility — on the surface the farthest thing from the Third Reich imaginable — was the true cause of Hitler’s rise; that by opting to inhabit a gossamer world of opera and champagne European elites paved the way for an inevitable resurgence of brutal That gossamer world may sound a lot like the one Visconti lived in he’s torn between celebrating and excoriating the luxuriant lifestyle he knew only too well These two impulses collide midway through “Ludwig” when the king completes his infamous “Grotto of Venus,” an underground pleasure palace complete with a scallop-shaped rowboat you’d expect Visconti to be sympathetic to his protagonist’s quixotic project—building costly is also unmistakably absurd—he might as well be strumming the harp while Rome burns The crucial difference between Count Luchino Visconti and King Ludwig II is that Ludwig sponsored artists while Visconti was an artist he found ways of exploring the contradictory halves of European history as well as the conflicting parts of his personality — his Marxism his sexuality — for which Dali had mocked him years ago is a muddled contradiction and nothing more it’s something like the famously discordant opening notes of Wagner’s “Tristan und Isolde”: a tension that’s unresolvable Jackson Arn’s writing has appeared in 3:AM Magazine I’d like to ask you to please support the Forward American Jews need independent news they can trust At a time when other newsrooms are closing or cutting back the Forward has removed its paywall and invested additional resources to report on the ground from Israel and around the U.S rising antisemitism and polarized discourse This is a great time to support independent Jewish journalism you rely on See our full guidelines for more information, and this guide for detail about canonical URLs subject line “republish,” with any questions or to let us know what stories you’re picking up Copyright © 2025 The Forward Association DHL Express Italy has selected cross belt technology for its new hub at the Milan Malpensa Airport in Nothern Italy DHL’s partner, Fives designed a solution that would provide high speed and accuracy. The solution integrates 4 GENI-BeltTM cross belt sorters, first unveiled at Post-Expo in 2015 and 30 GENI-FeedTM high capacity induction lines by Fives The hub receives DHL express shipments from both air traffic and road traffic to process and reload on board DHL vehicles and airplanes for the transport to their final destination Fives’ cross belt sorters receive parcels and envelopes from the high capacity introduction lines and with extreme accuracy and speed transport each item to the assigned destination where it is discharged into the outlet without tilting or rolling The conveyor systems connect the sorting equipment with all other handling and processing points inside the hub Fives Intralogistics SPA was established in 1957 in Lonate Pozzolo The company is part of the Smart Automation Solutions division of Fives Group and is leader in designing high performance cross belt technology and in developing automated solutions for the material handling in a wide variety of applications The Fives GENI-BeltTM cross belt is recognized globally as the cutting-edge technology that  offers high performance and adapts well to countless configurations Fives is partner of the major players in the intralogistics sector and the GENI-BeltTM sorter is the backbone of thousands of distribution and shipment centers all over the world Tweet Logistics Business © 2025 All Rights Reserved. | Privacy | Terms | Site Map Subscribe to our quarterly magazine and weekly newsletter to stay updated with the logistics industry By submitting this form you agree that the personal data you provided will be transferred to Logistics Business for processing in accordance with our Privacy Policy Home / News / Article the daughter of imprisoned ‘Ndrangheta mafia boss Vincenzo Rispoli five-month and 10-day sentence for her role in an extortion beating that took place in Malta confirmed Judges also convicted ‘Ndrangheta associates brothers Michele and Giuseppe Di Novara to eight years each to 10 years and eight months incarceration for carrying out a brutal beating of businessman Giovanni D’Alessandro in Marsascala in January 2020 All four were also charged with mafia aggravating circumstances over their involvement in a ‘Ndrangheta mafia clan that operates in Legnano who lived in Malta at least at the time and owns Valmeda Srl a building company that was working at several construction sites in Malta owed some €3,000 to two of the three assailants for off-the-books illegal work they had done between November 2019 and January 2020 The three assailants had travelled to Malta on 25 January 2020 on an Air Malta flight from Linate Airport with tickets booked by the 31-year-old mafia boss’ daughter Francesca Rispoli The savage beating they administered D’Alessandro left him hospitalised with broken ribs and teeth Anti-mafia prosecutors’ phone taps between the assailants and relatives show how they bragged about brutally punching and kicking the victim with Lillo giving Rispoli details of the attack saying that “there was blood everywhere and teeth all over the floor” Lillo also bragged to his wife about having sabotaged D’Alessandro’s heavy machinery According to investigations coordinated by Colonel Antonio Coppola and Lieutenant Colonel Cataldo Pantaleo the three left for Malta at the end of January 2020 with the aim of getting paid by D’Alessandro Giuseppe ‘Zio Pino’ Di Novara told Francesca Rispoli in the phone intercepts “I broke it all…all full of blood… I have the keys and the phone… I have the fanny pack…he doesn’t even have a lira.” I got a strike,” a message Lillo sent to his wife said “I punched him from underneath,” he then told a friend when he returned to Italy I gave him the first punch under the chin and after that he didn’t understand anything.” The details of the beating have been confirmed in a medical report from Mater Dei Hospital where the businessman had himself treated that evening Rispoli is recorded as having encouraged and applauded them “This way he’ll know the ‘Ndrangheta still exists” an investigation was conducted by the Carabinieri and arrests were made in September 2020 The mafia charges come from investigators’ line of reasoning that the perpetrators acted “in order to facilitate the consortium activities of the Legnano-Lonate Pozzolo branch of the ‘Ndrangheta” The branch is believed to be the most powerful in Lombardy It is run by the Rispolis and is linked to the Farao clan in Cirò Marina Join our Corporate Democratic Responsibility Program The Shift is an independent online news platform committed to investigative journalism and the defence of press freedom cultural and social commentary from civil society We use cookies to enhance your browsing experience We use cookies to help you navigate efficiently and perform certain functions You will find detailed information about all cookies under each consent category below The cookies that are categorized as "Necessary" are stored on your browser as 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website which helps in delivering a better user experience for the visitors Advertisement cookies are used to provide visitors with customized advertisements based on the pages you visited previously and to analyze the effectiveness of the ad campaigns Italian event rider Sabrina Manganaro (pictured top) has been killed in a fall Her death was confirmed this afternoon (Sunday 12 April) by the Italian Equestrian Federation (FISE) A statement from the FISE sent to H&H read: “It is with the deepest regret that we announce that Sabrina Manganaro suffered a fatal accident while competing in a pre-novice (cat 3) at the national eventing competition in Cuceglio (TO) in Italy on Sunday 12 April “Her horse Fante di Mezzograno fell at fence 13 at 10.50am causing the immediate death.” The 25-year-old rider was attended to by doctors at the event “The President of the Italian Equestrian Federation on behalf of the Italian equestrian community would like to extend their deepest sympathy to Sabrina’s family in this tragic moment,” continued the statement Italian Eventing Association (ANCCE) tweeted: “Bad news for Italian eventing Sabrina Manganaro died after a fall during an eventing competition Condolences to family and relatives.” was riding at the national event in San Giorgio Canavese Local reports suggest she may have been killed as the result of a rotational fall when the horse fell on her “Our thoughts go out to Sabrina Manganaro’s family and friends at this very difficult time,” said an FEI spokesperson in its role as the national governing body will be investigating this accident.” This is the second death in Europe in eventing in as many months Earlier this year Portuguese eventer Francisco Seabra died while competing at the Alegra Rancho Eventing Tour de Utrera in Sevilla was riding 12-year-old Aferzysta in the CIC2* when they fell at the third element of a water obstacle at fence 10C The rider was attended by a doctor and team of paramedics at the scene The Damned (1969), followed by Death in Venice (1971) and Ludwig (1973), is a historical drama film by Luchino Visconti and the first installment of the aforementioned German trilogy Set in the backdrop of Hitler’s rise to power the film portrays the steady disintegration of the affluent Essenbeck family due to the actions of one Hauptsturmführer Aschenbach a highly influential and manipulative leader of the Schutzstaffel Events in the film are driven by real-life incidents that were instrumental to the transformation of the Weimar Republic (Hitler as Chancellor) to Nazi Germany (Hitler as Führer) These include the Reichstag fire and the Röhm purge (or Visconti (officially The Count of Lonate Pozzolo) luxuriates in the decay of German nobility due to Nazi interference and the intrinsic decadence of the members of the Essenbeck family The Damned presents itself as a detailed study of instability with particular attention to the characterization of the aggressors and their victims The elderly patriarch Joachim von Essenbeck’s birthday party serves as the point of introduction for all the major players in this demented power game We are first introduced to Konstantin von Essenbeck whose son Günther is his father’s polar opposite preferring to take refuge in music instead of whatever Konstantin does To ensure the survival of the Essenbeck steelworks in the emerging fascist climate the Nazi-averse Joachim decides to make Konstantin the vice-president replacing the outspoken critic of the Third Reich a cousin of Sophie’s husband (Joachim’s deceased son) sets things rolling towards the beginning of the end An ambitious social climber and Sophie’s lover Friedrich Bruckmann is carefully provoked into assassinating Joachim with Herbert’s gun Herbert is forced to flee as the Gestapo arrives to arrest him As Sophie and Friedrich bond over their machinations Sophie speaks disparagingly of her son Martin With Joachim dead and Herbert out of sight Sophie speaks of persuading her son to abdicate his throne in favor of Friedrich But Sophie’s impression of her son is misleading Martin von Essenbeck is first seen in drag channeling Marlene Dietrich’s Lola Lola in The Blue Angel (1930) His decision to partake in a drag performance on his grandfather’s birthday is clearly amusing but there is no immediate indication of him being a dangerous deviant Just as the viewer is beginning to regard Martin in an unserious manner (not unlike his mother) Visconti drops some extremely unpleasant hints about Martin’s nature Martin dons a playful persona to trap unsuspecting young girls like Thilde in a cycle of abuse: he is a pedophile Aschenbach stalls the supply of weapons to the SA to fulfill Hitler’s vision of eliminating Röhm Sophie arranges for Elizabeth and her children to be deported to the newly opened Dachau Internment Camp Konstantin discovers Martin’s transgressions and attempts to steer the weapons supply back to the SA by blackmailing him Sophie discovers a disheveled Martin in the attic and reports to Aschenbach to get him out of trouble Friedrich is aghast to find out that Aschenbach wants him to eliminate Konstantin it’s implied that Aschenbach is too shrewd not to abuse Friedrich’s ambitious nature constantly deceiving him on the pretext of promising power The SA (including Konstantin) gather at Bad Wiessee for an evening of drunken merrymaking As the SA officers retire to their beds with their young male companions the SS raids the place at the crack of dawn in an event known in history as The Night of Long Knives Friedrich doubles his murder count by executing Konstantin at the behest of the ever-powerful Aschenbach He then turns his attention to the increasingly volatile Martin to leverage his hatred of Sophie Aschenbach’s strategy to pacify Martin works because he says the exact words that Martin craves: that he is not guilty Martin vows to destroy his mother’s security effectively submitting himself to Nazi control Aschenbach’s job is done: the heir to the Essenbeck throne is no longer a thinking human and his mother and her lover are about to be exterminated for using ‘national socialism’ for their own benefit A commotion erupts at the dinner table when Friedrich von Essenbeck starts to assert himself as the family patriarch before Sophie In the middle of a heated argument with Günther the arrival of the absconding Herbert Thalmann serves as the last nail in the coffin for Sophie and Friedrich Günther learns from an outraged and fearless Martin that Friedrich is Konstantin’s killer No amount of Sophie’s admonishment would work on a now fully transformed Martin Martin sexually assaults his mother the night before her wedding Martin gifts his mother and her new husband a pair of cyanide capsules immediately after the wedding The Damned ends with Martin doing the Nazi salute before his dead mother Helmut Berger as Martin von Essenbeck is the star attraction of Visconti’s (almost literary) epic One doesn’t need to be devastatingly beautiful to pull off an androgynous character so this is more about Helmut Berger’s disposition than his physical beauty Berger was also openly bisexual; perhaps that acted as a catalyst for his perfection Ingrid Thulin as Sophie von Essenbeck is equally impressive as the definition of opulence Bogarde is so good at portraying the anxious unassertive pushover Friedrich Bruckmann that it is easy to rank this role as one of his best It’s right up there with the characters of Hugo Barrett in Joseph Losey’s The Servant (1963) and Max Aldorfer in Liliana Cavani’s The Night Porter (1974) it would be a crime not to hail Helmut Griem as the nefarious Aschenbach Viewers can wonder what makes everyone fall prey to his words but I chalk it up to his voice – silky monotone delivered with conviction great at goading unsure people into action The frequent zoom-ins might look theatrical but they fit in with the way the film is presented The Night of Long Knives sequence is exquisite in its portrayal of homosexual SA officers of the likes of Konstantin dancing and drowning in booze Bathed in reddish yellow and decorated with men in pearls Visconti creates a fleeting moment of chaotic freedom before ending it in mass slaughter—soft-focus cinematography for the win he is known for sweeping grandeur and the cinema of decadence Designed by Two Words