The film lacks explicit depictions of non-cisnormative identities or same-sex intimacy. While sketches like Mozart and Salieri explore intense psychological friction between men, the focus remains on metaphysical ego rather than sexual orientation.

Women often occupy roles defined by tragic or romantic tropes, frequently serving as catalysts for male conflict. The narrative prioritizes masculine intellectual and existential struggles, reinforcing traditional gender hierarchies.

Casting is largely homogeneous, reflecting the ethnic and social demographics of the 19th-century Russian literary period. There are no efforts to disrupt the Eurocentric or Slavic visual landscape of the source material.

The film aligns with non-Western philosophical frameworks by emphasizing subjective morality and fatalism. It explores human suffering and systemic fate rather than adhering to singular religious or state-sanctioned moralities.

Characters experience profound mental anguish and existential crises, but these are treated as genre tropes rather than nuanced depictions of neurodivergence. No characters with physical or sensory disabilities drive the narrative.