I think Stefan Höltgen managed to aptly sum up the essence of Törst" in his review first published in the magazine "Schnitt", "In the end the story lines stay fragmentary. However, the characters and the images are continuing to have an effect." Bergman already dealt with topics that he came back to frequently in his later pictures, but it seems as if Bergman wasn't able in this film (which was his third feature) to find the right form for providing the different stories, written by Birgit Tengroth (screenplay by Herbert Grevenius), with a coherent narrative structure. A lot of sequences left a strong impression with me, for example when Bertil thinks he killed Rut, or when the train crosses a railway station in Germany where they give bread to the people struck by war. And I also found the episode about Viola to be very interesting, although it was a bit confusing at first. The problem with "Törst" is that all those episodes don't form an impressing whole, but rather a puzzle with lost pieces.