Stalker is laser-focused on existential, philosophical themes, not identity politics. Character selection and development are rooted in narrative purpose, psychological depth, and broader symbolic meaning, not token representation. There’s no forced diversity or ideological shoehorning; the film is about as far removed from modern “woke” trends as you can get.

The film questions and contemplates faith, hope, and purpose, but doesn’t ridicule or undermine religion, family, or masculinity. Traditional roles aren’t forcibly subverted. If anything, it’s more interested in the human condition in a bleak world than lecturing on modern social issues.

Stalker presents a broad palette of perspectives (believer, skeptic, intellectual) without overtly villainizing tradition or dissent. Debate and personal struggle are central rather than any ideological consensus. Viewers aren’t bludgeoned with modern progressive doctrine but prompted to think.