The film follows strict heteronormative romantic structures. The plot centers on a traditional triangle between a woman, her fiancé, and a landowner, with no queer subtext present.

Madeline serves as a primary plot driver rather than a passive victim. Her active pursuit of her lover provides a level of agency that disrupts typical male-centric horror dynamics.

Haiti is used through a colonialist lens to create supernatural dread. The film relies on racialized tropes that frame non-Western spiritualities as menacing and 'other.'

Non-Western religious practices are framed as tools of villainy. The narrative uses these settings to heighten the uncanny without critiquing colonial power dynamics.

Zombification is used as a metaphor for the loss of cognitive agency. This state of being serves as a horror device rather than a meaningful exploration of disability.