The film lacks any discernible depictions of non-cisnormative identities or same-sex intimacy. The narrative remains strictly within the heteronormative social structures of the 1930s.

Female characters like La Condesa and Jenny are central, yet their agency is often mediated through relationships with men. The film adheres to traditional gender roles rather than dismantling them.

The international setting presents a diverse microcosm that addresses the mechanics of prejudice. It specifically highlights the vulnerability of Jewish passengers against rising antisemitism and fascism.

The film critiques Western institutions by portraying the capitalist elite as enablers of oppression. It deconstructs the facade of polite society to reveal inherent cruelty and moral decay.

There is no significant exploration of neurodivergence, physical disability, or mental health. Characters are defined by socioeconomic status and political affiliations rather than disability.