The film focuses strictly on masculine spheres of transport and smuggling. There is no discernible presence of non-cisnormative identities or narratives addressing queer life.

The narrative operates within a heavily male-centric framework. Women are primarily depicted as part of the migrant populations rather than active drivers of the plot.

The film excels by centering the movement of refugees, primarily of Middle Eastern or North African descent. This disrupts Eurocentric focuses by making characters of color central to the critique.

The story offers a profound critique of capitalist mechanics and the dehumanizing nature of profit-driven migration. It portrays a world where transactional survival supersedes traditional humanitarian ethics.

The film does not explicitly center characters with visible or invisible disabilities. Any sense of impairment remains more metaphorical, reflecting a society in flux rather than specific representation.