The film offers no evidence of queer identities or non-cisnormative gender expressions. The focus remains strictly on the physical spectacle of the wrestling match.

The narrative centers on wrestling, a genre historically dominated by masculine archetypes. There is no documented subversion of gender hierarchies or portrayal of masculinity as inept.

The film likely reflects the homogeneous casting norms of 1900s French cinema. There is no evidence of race-bent casting or ethnic metaphors within this work.

By prioritizing surrealism over the mundane, the film avoids promoting singular religious or patriotic dogmas. It functions instead as a neutral exercise in cinematic illusion.

There is no evidence of characters with visible or invisible disabilities being portrayed with agency or as central to the narrative arc.