The film lacks explicit queer narratives or non-cisnormative identities. Passion and obsession are framed strictly within the heteronormative structures of their historical eras.

Female characters receive meaningful space, particularly through the struggles of 19th-century musicians. The film critiques historical gender hierarchies while remaining tethered to patriarchal period norms.

The narrative spans Italy, Austria, England, China, and Canada. While largely Eurocentric, the Chinese thread provides a necessary departure from a purely Anglo-Saxon perspective.

The film explores moral relativism and the complexity of historical institutions like the Catholic Church. It avoids simple reverence, focusing instead on how systems interact with individual desire.

There is no central depiction of visible or invisible disabilities. Psychological states like madness are treated as thematic character traits rather than nuanced explorations of neurodivergence.