The film lacks explicit focus on non-cisnormative identities or same-sex intimacy. The narrative prioritizes existential malaise over specific queer identity politics or semiotic markers.

Women like Myriam and Marie possess significant autonomy, pursuing unconventional lifestyles or defying consumerist structures. The film avoids traditional tropes, prioritizing female subjectivity over patriarchal utility.

The cast is primarily white and European, reflecting a localized study of 1970s Swiss society. This lack of racial intersectionality results in a lower score for diversity.

The film offers a sophisticated critique of Western capitalism and institutional frameworks. It frames communal living and 'unproductivity' as legitimate responses to an oppressive, alienating social system.

There is no prominent depiction of physical or neurodivergent disabilities. While characters experience psychological alienation, there is no explicit evidence of disability-driven agency.