by Angelo Muredda Conceptually sandwiched somewhere between Maren Ade’s terrific Everyone Else and Terrence Malick’s Badlands, Alessandro Comodin’s Summerof Giacomo is a richly textured portrait of dumb love in the grass, times two. As the lengthy credits of electric blue font superimposed on black and scored to languid birdsong suggest, this is chiefly an aesthetic experience, and Comodin delivers a gorgeously lensed (on 16mm) account of twentyish Giacomo and Stefani’s wayward hike through the countryside in search of a river by which to set up camp for the afternoon. The press notes tell us that Stefani is a childhood friend, but that hardly matters: all that we gather and need to gather is that something might have happened at some point, but outside of this hike, it’s over. What we’re left with, then, apart from their pathfinding and inevitable squabble, is a dense sensory record of the seriously goofy and – this is nicely underplayed – deaf Giacomo’s experience. His cochlear implant is briefly glimpsed in the first over-the-shoulder shot of him clanging randomly at a drum set, and you could happily read the film as an experiment in attending to the sounds, both slight and explosive, that pass through the device en route to his dufus skull.