The film lacks explicit depictions of LGBTQ+ identities or non-heteronormative relationships. While the 'adopted' status of the children suggests a non-traditional domestic structure, it remains within a horror framework.

Female agency is central through Lena, the Polish cleaner. However, the narrative often relies on traditional horror tropes where women are positioned as victims of systemic violence and perversity.

The story features a non-Anglo-Saxon protagonist, Lena, navigating a globalized airport setting. This inclusion introduces themes of migrant labor and ethnic intersectionality within a transient environment.

The film deconstructs social stability by portraying a family living on the fringes of capitalism. It frames the domestic sphere as a site of dysfunction rather than a moral sanctuary.

There is no specific evidence regarding the portrayal of physical or neurodivergent disabilities. The film focuses on psychological trauma without explicit disability representation.