The film lacks explicit depictions of non-cisnormative identities or same-sex intimacy. While the surrealist landscape allows for fluid interpretations, there is no verifiable evidence of queer-coded characters or narratives actively critiquing heteronormativity.

The narrative is heavily centered on male-dominated bureaucratic structures. The protagonist's journey is framed through a male lens, and the memory of Markéta serves as a passive, lost figure rather than an agent of the present.

Set within a specific European allegorical framework, the film does not feature a diverse or non-Anglo-Saxon majority cast. The setting functions as a stylized social hierarchy that does not prioritize racial or ethnic intersectionality.

The film excels in its critique of institutional authority through a Kafkaesque, surrealist lens. It portrays Western-style state power and legal systems as inherently absurd, corrupt, and dehumanizing performances.

There is no significant evidence of characters with visible or invisible disabilities being portrayed with agency. The protagonist’s disorientation functions as an existential metaphor rather than an exploration of neurodivergence or physical disability.