The symbolism here can't be accused of being shallow because the things it satirises (mostly the machinations and influences creating wars and governmental oppression in general) are themselves incredibly shallow; it's so direct because it can't be anything but that when dealing with such obvious social aspects and Jodorowsky utilises this well in every image's and word's intent being just about as blunt as possible (there's nothing one can take away from "We know that people want to be loved, not for who they are, but for what they appear to be" other than exactly what it says and just as equally there's nothing one can take from a servant of the church lying in a bed with a crucifix as anything else than what it portrays (even if one misses it there it's easy to see the repeated instances of people idolising the construct rather than the actual, one of the main things Jodorowsky discusses in this film)).