The film does not center on LGBTQ+ identities or non-cisnormative gender expressions. There is no specific evidence of queer-coded characters or narratives addressing heteronormativity within this historical context.

The narrative disrupts wartime expectations by centering on female agency. Diana Budisavljević is depicted as the primary intellectual and organizational driver of a massive humanitarian effort, subverting traditional gender hierarchies.

The film provides significant depth to the identities of the persecuted, focusing on the ethnic backgrounds of those displaced by the Ustasha and Nazi regimes. It challenges the homogeneity of historical wartime narratives.

The film critiques traditional state institutions, portraying political and military structures as inherently oppressive. It prioritizes humanitarian ethics over state-enforced borders and legalistic protocols to highlight systemic cruelty.

The vulnerability of children in the camps serves as a proxy for discussing the fragility of life and the physical toll of neglect. However, characters with disabilities lack independent agency.