The central romance between Lena and Kundel drives much of the erotic thriller plot and is explicitly tagged with LGBT/Queer Love Sexuality descriptors in festival materials, indicating a same-sex or non-traditional gender presentation element that forms a core part of the narrative rather than incidental background. The poster prominently features three faces in the triangle, underscoring Kundel's role as one of the titular 'three loves,' with the relationship described as a 'fiery' or 'explosive' affair that blurs intimacy and desire.

Creator comments emphasize avoiding judgment of characters and addressing 'taboo' topics, aligning with modern explorations of fluid or non-heteronormative sexuality in mainstream Polish cinema. No evidence of race-swapping, DEI mandates, or overt systemic-oppression lectures appears, and the story remains grounded in personal obsession and post-divorce reinvention rather than identity politics as the sole premise. Audience and critical reception shows no notable 'go woke go broke' backlash or review-bombing, consistent with a competent integration of the queer element into genre conventions.