The photo will mirror reality as the photographer experienced it, without the abstraction of total sharpness everywhere or a single isolated plane of sharpness and a great volume where objects can barely be identified. That's true as far as it goes. But depth of field is also arbitrary and depends on just how far out of true focus the lensmaker is willing to say the image is still 'sharp'. The Minoxer knows that an enlargement from the tiny negative will produce a photograph which places the viewer's eye right where the camera had been. It is a comfortable feeling.
Depth of field is never a substitute for focusing correctly in the first place.
Every Minox lens, from the first production Riga models to today's TLX and EC, has enormous depth of field. Objects both near and far can be in acceptable focus at the same time, on the same picture, to a degree uncommon in photography with larger cameras. Indeed, since the early production runs of the Minox III, most Minox cameras have had a small dot between the six foot mark and the infinity mark, a 'snapshot' setting at 12 feet. The hyperfocal distance depends, of course, on just how unsharp the lensmaker will still call 'sharp'. Somehow the idea grew up that if you just set the camera to the dot, all of your pictures would be sharp.