The film uses a balletic framework to frame biological interactions like greeting and fighting. This replaces heteronormative social structures with biological imperatives, though it lacks explicit identity-specific roles.

By removing human elements, the film avoids traditional gender hierarchies. The focus on species-specific movements disrupts expectations of masculine or feminine archetypes through a fluid, non-human lens.

As a biological documentary, the film does not engage with human racial categories. It functions as a color-blind medium, focusing on the textures of marine life rather than human social norms.

The film juxtaposes high art, like Chopin, with raw natural reality. This deconstructs the idea that human social or religious frameworks are the primary ways to interpret existence.

Physical variation is presented through the slender stenorhynchus and the clumsy hyas. These differences are treated as functional biological niches rather than failures or subjects of mockery.