The film lacks explicit LGBTQ+ characters or narratives. Its surrealist framework focuses on existential and political chaos rather than specific sexual identity politics.

Gender hierarchies are disrupted through surrealist imagery. Characters like the witch Vandale and the inept, sadistic sons of the land baron undermine traditional feminine and masculine archetypes.

The story is a localized exploration of Spanish historical trauma. It lacks a non-white majority or deliberate intersectional racial representation, focusing instead on geopolitical ethnic struggle.

The film excels at critiquing Western institutional power. Through Goya, it uses art to challenge the hegemony of both the Church and state authority.

Distorted physical imagery is used as a symbolic tool of the Panic movement. These depictions serve surrealist expression rather than providing agency to characters with disabilities.