The film utilizes queer aesthetics and camp to challenge heteronormative structures. It prioritizes gender ambiguity and androgyny, presenting identity as a performative artifice rather than a fixed biological reality.

Bene dismantles traditional gender hierarchies through highly stylized, theatrical performances. The film avoids tropes of submissive femininity, instead presenting fluid power dynamics through a lens of decadence.

The production features a predominantly white, European cast. While not traditional whitewashing, the homogeneous demographic lacks intersectional breadth and racial variety.

The narrative offers a profound critique of organized religion by stripping sanctity from figures like John the Baptist. It replaces religious dogma with moral relativism and aestheticized transgression.

There is no significant evidence regarding the portrayal of visible or invisible disabilities. No characters are utilized as subjects of mockery or plot devices related to disability.