The film lacks any discernible LGBTQ+ characters or storylines. The narrative remains strictly confined to the traditionalist social structures of the early 1990s.

The story operates within a heavily male-centric framework typical of war dramas. It portrays a breakdown of traditional masculine leadership through farce rather than providing female agency.

The cast is predominantly homogeneous, reflecting the specific ethnic context of the Croatian setting. It focuses on internal South Slavic tensions rather than intersectional casting.

The film offers a progressive deconstruction of nationalistic sanctity. It portrays state institutions and mourning rituals as inherently corrupt, absurd, and dysfunctional through postmodern satire.

There is no significant evidence of characters with visible or invisible disabilities being afforded agency. The focus remains on political absurdity and the psychological toll of war.