The anthology lacks explicit LGBTQ+ narratives or clearly defined non-heteronormative identities. While the directors often explored sexual liberation, these segments focus on broader sexual mores and urban desire rather than specific queer identities.

The film deconstructs traditional gender roles through satire and stylized romantic interactions. Gregoretti critiques the objectification of women, while Godard moves away from stable provider archetypes to present more fluid dynamics.

The setting focuses heavily on the Italian working class and urban proletariat. While Pasolini explores marginalized social identities through the sub-proletariat, the cast lacks significant racial or non-Anglo-Saxon diversity.

The film excels at critiquing consumerism and capitalist structures. It embraces moral relativism, prioritizing the depiction of social fragmentation over traditional Christian or religious authority frameworks.

There is no meaningful or agentic portrayal of physical or neurodivergent disabilities. The narrative focus remains centered on class, gender, and the psychological pressures of urban life.