The film lacks explicit queer narratives or non-cisnormative identities. Instead, it uses a fragmented, surrealist structure to disrupt traditional romantic tropes and heteronormative storytelling expectations.

Claude Alphand provides a departure from male-centric detective archetypes. However, her agency is often obscured by the dreamlike setting, remaining tethered to the male protagonist's central search.

The film avoids a Western-centric gaze by utilizing a stylized Buenos Aires setting. While specific cast diversity is unconfirmed, the regional context offers a departure from Hollywood homogeneity.

The narrative explores the instability of institutional truth through the Church of the Final Revival. It uses postmodernism to critique traditional social orders and grand narratives.

There are no identifiable depictions of physical or neurodivergent disabilities. The focus remains on psychological and atmospheric states rather than character-driven disability narratives.