The film lacks any discernible LGBTQ+ characters or non-cisnormative identities. Interpersonal dynamics focus exclusively on heteronormative motivations and the protagonist's obsession with his deceased wife.

Narrative agency is concentrated in the male protagonist, who drives the plot through scientific pursuits. Female characters, such as the expedition leader, are framed primarily as subjects for experimentation.

Indigenous populations function as atmospheric elements rather than characters with independent agency. The cast is predominantly white, utilizing the 'exotic' trope common to 1950s cinema.

The portrayal of voodoo serves the horror genre rather than providing authentic representation. The film frames local spiritual practices as tools for Western scientific exploitation.

There is no meaningful representation of disability. The narrative focuses on biological manipulation and resurrection, treating the human body as a site for scientific experimentation.