The film lacks depictions of non-cisnormative identities or same-sex intimacy. The central romance between the poet and Eva follows a traditional heteronormative path.

Female characters often appear as predatory or tragic archetypes, such as the femme fatale. These roles primarily serve as catalysts for the male protagonists' psychological journeys.

The film lacks significant racial diversity, reflecting 1920s European cinematic traditions. The Harun al-Raschid vignette uses an Eastern setting through a lens of Western exoticism.

The narrative focuses on individual psychological struggles with mortality rather than socio-political critiques. It does not actively challenge Western institutions or promote secularist frameworks.

There is no discernible representation of physical or neurodivergent disabilities. Characters function as archetypal figures within a stylized dreamscape.