The film lacks explicit LGBTQ+ characters or non-heteronormative identities. Conflicts are driven by traditional interpersonal dynamics and the predatory actions of the children.

Sister Hannah provides a moderate subversion of gender roles by acting as an active guide rather than a passive figure. Female characters like Lovely and Julie engage in power struggles and seduction.

The setting and cast reflect a homogeneous social circle of decadent snobs. There is no evidence of racial blending or non-white majority casting within the narrative.

The film critiques capitalism and class structures by targeting a real estate tycoon and the elite. It also disrupts traditional views of innocence by portraying children as sociopathic agents.

Mental health is central to the plot through the escaped psychiatric patients. However, the character Ralph, a mentally disabled servant, may serve more as a plot tool than a fully realized person.