There are various aspects of production about the film that can be brought forward. These come into picture only after the film has been comprehensively viewed. The director and the producer have focused on ensuring that the film depicts a relationship between ideology and the structure. The consistent importance of the film arises from the rare attempt made for integrating the women struggles, the struggles of working force and that of the ethnic minority (Strobel 146). The problem of sector struggles had dependency over feminism, ethnic minorities, the nationalistic perspective and their relationship with the struggle of class. Such notions have always been a cause for argument in movements of political nature. The film’s production is not something that brings forward social science conceptions rather it looks at highlighting a rare form of art. It does not indulge in analyzing the struggles interaction rather it centrally presents such interaction. In ignoring to assign these struggles with priorities, the film takes into consideration their uneasy life based contemporaneousness. In the film, at times, such struggles result in converging and coalescing while at other times they are in constant conflict with each other. In situations where they have a conflicting nature, the mining community becomes distinguished with one another. In places where convergence takes place, there is existence of unity (Wilson and Deborah 47). The power of the film as a narration and structure of visual nature largely comes from the use and acknowledgement of such conflict and convergence patterns with regard to unity and division. Such a pattern reflects in itself the social forces contention of that region and of that speculative time period.