Inferno (1980) focuses entirely on atmospheric horror and supernatural mystery without any evident emphasis on modern identity politics or forced representation. Characters are defined by their roles and the story’s needs, not by any traits pushed for ideological reasons. The suspense and dread come from classic horror storytelling, not contemporary messaging.

The film doesn’t undermine traditional religion, family, or gender roles; if anything, it draws on older European folklore and horror motifs. There’s no apparent subversion of masculinity or social structures, just a classic gothic dread with supernatural overtones.

Inferno feels refreshingly free of ideological monoculture. There’s no proselytizing, obvious villainizing of traditional values, or messaging about contemporary social debates. The film’s focus remains squarely on horror aesthetics and suspenseful storytelling.