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The film is chiefly noted for its surreal imagery, the work of French writer and artist Roland Topor. The landscape of the Traag planet is full of strange creatures, including a cackling predator which traps small fluttering animals in its cage-like nose, shakes them to death and hurls them to the ground. The Traag practice of meditation, whereby they commune psychically with each other and with different species, is shown in transformations of their shape and interaction of science and superstition is most apparent in the Wizard, who resists the knowledge that Terr brings, fearing it will erode the power he maintains. Knowledge trumps ignorance, but in this case only after surviving an attempted 's drive to share knowledge overpowers the fear of an unknown people. Only his courage to save others not of his adopted tribe allows that tribe to overcome the loss of their Traags and Oms finally learn to live in peace and mutual benefit; presumably any groups can if they and their leaders really want to. This may have been a theme favoured by the filmmakers as it was made and released during the Cold War (the source novel was first published in 1957).
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