The film lacks explicit centering of non-cisnormative identities or same-sex intimacy. While the era's social upheaval implicitly challenges Tsarist-era heteronormativity, there is no overt representation of these identities.

The narrative disrupts male-centric art history by centering female artists like Natalia Goncharova and Lyubov Popova. These women are portrayed as intellectual drivers and creative leaders rather than passive subjects.

The focus remains largely on a specific Caucasian and European ethnic demographic. This reflects the historical context of the Russian Avant-Garde but results in limited racial variety.

The film excels at deconstructing traditional religious and monarchical structures. It frames the shift toward secular, communist frameworks as a period of artistic liberation and subversion of traditional morality.

There is no significant evidence regarding the portrayal of visible or invisible disabilities within the film's historical focus.