The last two chapters have argued that Melanie Klein and Jean-Paul Sartre work with concepts specific to their respective disciplines. Nevertheless, points of convergence are apparent in the application of these ideas to Ingmar Bergman's films. Both theories focus on the imagination as an aspect of human nature that must be understood in its own right. At the same time, both theories observe and emphasise a relational process in which the imagination is related to other aspects of human experience. We have seen how emotional elements are given a primary role by Klein but also in Sartre's thinking.