Critics touted Monika as “Bergman's most erotic film” for its theme of a young man's sexual awakening and scenes of nudity on an island in the Stockholm archipelago. But this summer interlude is surrounded by some of the bleakest commentary of Bergman's early cinema, in a city captured in all its shadows and empty light by the expert cinematographer Gunnar Fischer. Monika (Harriet Andersson), a restless, sexually harassed vegetable seller, and her more bourgeois boyfriend Harry take off in his father's boat for the islands. There she teaches him how to dance, how to make love, and how to steal vegetables; they dream of a family. But these Borzage-esque lovers turn into characters out of Pierrot le fou. A shot of a spiderweb seems to announce Bergman deserting his young heroine, leaving her to founder in femme fatalism (eternal spider to man's fly) and a life of dubious freedom.