The film repurposes communist-era Polish educational propaganda footage specifically to critique and overturn its original biases, with the reimagining of Baba Yaga as a prehistoric matriarchal goddess serving as the core mechanism for this ideological overhaul. These elements are not incidental but form the foundational driver of the narrative, subordinating any storytelling to the deconstruction of gender binaries and ideological reproduction. The director explicitly states an intent to queer archival images while channeling personal non-binarity through the child narrator, making creator intent the primary force behind the project's structure and thematic focus.

This approach transforms the source material into a vehicle for resistance narratives, where progressive gender and kinship explorations override entertainment or aesthetic priorities. The result is a work whose experimental form exists mainly to advance these critiques rather than deliver coherent narrative engagement. Reception reinforces the ideological framing, with the Teddy Award for Best Queer Short Film and festival positioning as feminist and queer cinema highlighting how the film's progressive messaging is celebrated in those circles while distancing it from broader audiences seeking non-didactic content.