"To be alone is worse than to have the hell that we share together."
“Thirst” (1949) finds a young Ingmar Bergman approaching his favorite narrative motifs: toxic romantic relationships, adultery, abortion and suicide. Sounds cheerful, right? The real issue relays on the fragmented nature of the plotline, which shifts protagonists in multiple instances and jumps back and forth in time without any sense of direction. The episodic structure makes each individual narrative thread superficial and, as a corollary, the themes are not explored with nuance.