Given Buddhism's prominence in Ceylon, the film likely features Buddhist sites, monks, or rituals. The documentary's observational nature, without narrative judgment or critique, portrays the religion and its adherents respectfully as an integral part of the local culture.

As an early observational documentary, the film likely depicts Christian adherents or institutions as part of the diverse cultural landscape of Ceylon. Without overt negative framing, this portrayal acknowledges their presence and practices, aligning with a respectful, non-judgmental stance.

Hinduism, a significant religion in Ceylon, would likely be depicted through its adherents or temples. The film's straightforward, non-interpretive presentation of these elements, without any negative framing, aligns with a positive portrayal that acknowledges their cultural and spiritual significance.

The film, typical of early travelogues, would likely present Muslim communities or their practices as an observed aspect of Ceylonese life. This observational approach, devoid of critical commentary or negative stereotypes, constitutes a positive depiction by simply acknowledging their cultural presence.