The film operates within a classical, mythological framework that prioritizes archetypal figures. There is no evidence of non-cisnormative identities or same-sex intimacy.

Gender is portrayed through classical duality, framing the feminine as an ethereal archetype of beauty. However, female characters lack agency by modern intersectional standards.

Casting reflects a European-centric, historical aesthetic consistent with the setting. The narrative leans into a homogeneous landscape rather than utilizing diverse casting.

Sokurov critiques rigid religious morality by presenting the Devil as a weary, intelligent entity. The film offers a sophisticated critique of Western notions of progress.

Physical frailty is used as a universal existential motif rather than a specific exploration of disability. No characters are depicted with specific disabilities.