Meshes of the Afternoon is driven by avant-garde experimentation rather than social or ideological agendas. Its female protagonist serves the narrative’s psychological and surreal aims, not imposed identity markers. There's no trace of forced representation or hyper-competent symbolism. If anything, the film’s story is so abstract, it’s hard to claim narrative was sacrificed for ideology at all.

There is no real attempt here to undermine religion, family, tradition, gender, or cultural foundations. In fact, traditional values and institutions are largely absent. The film operates in a totally personal, psychological dreamscape, not a battleground for cultural revisionism or subversion.

This film doesn't traffic in modern ideology or groupthink. The story is focused on individual experience and surreal inner turmoil, without any overt or covert ideological preaching. No traditional perspectives are mocked, nor does it present one worldview as universally correct.