Likewise Ingmar Bergman’s 1953 Summer with Monika featured the then object of his affection, Harriet Andersson, in a fiercely unlikable role that celebrated her spunk and dangerous unpredictability rather than simply settling on reveling in the contours of her face.
The fable is a peewee reworking of Summer with Monika set in the year of Pierrot le Fou, acted out by a moon-faced, lisping boy who resembles Sartre in a coonskin-cap and a grave nymphet whos forever bringing binoculars to her raccoon eyes.