The film operates within a traditional religious horror framework. It lacks LGBTQ+ characters or depictions of non-cisnormative identities, adhering to the heteronormative structures of its mid-20th-century setting.

Sister Irene and Sister Debra serve as the primary drivers of the plot. They demonstrate superior competence and resilience, shifting away from the 'damsel in distress' trope to position women as authoritative figures.

The casting reflects the 1956 French setting, resulting in a largely homogeneous ensemble. The film lacks significant color-blind casting or a non-white majority cast.

The narrative reinforces the Catholic Church as an essential bastion of stability. It relies on a binary moral framework rather than critiquing Western religious institutions.

There is no significant portrayal of visible or invisible disabilities. Characters are defined by their religious roles rather than neurodivergence or physical disability.