The film adheres to mid-century heteronormative structures. There is no evidence of same-sex intimacy or non-cisnormative identities.

Women often occupy roles as passive victims or supernatural femme fatales. While characters like Joan Bennett show agency, it remains within traditional predator/prey binaries.

Casting is largely homogeneous and reflects the era's standard for Gothic horror. The narrative lacks diverse ethnic ensembles or race-bent casting.

The film depicts institutional corruption through the Inquisition. It frames religious authority as a source of systemic cruelty rather than moral guidance.

Psychological instability is used as a genre trope to heighten tension. These portrayals lack nuanced exploration of lived neurodivergent experiences.