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In a year in which the best picture presenter could conceivably announce, “And the Oscar goes to …

Ab und zu lehnt er sich gelangweilt zu seinen Kumpels rüber und raunzt nur, dass die Frauen hier alle nur oberflächliche Schlampen sind.

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Bleibt nur die Frage: Wo lernen sich die jungen Balkanesen eigentlich kennen?

(and disconcerting eye level) of an 8-year-old girl (Julia Pointner), Vollrath’s handheld, dare-to-breathe thriller flips the custody-battle scenario in favor of the father, asking audiences to identify with a divorced dad (Simon Schwarz) who has decided to kidnap his own daughter.

A student of Michael Haneke’s at the Filmacademy Vienna, Vollrath presents an emotionally challenging, morally complex character study that takes audiences on an uncomfortable journey whose outcome is anything but “okay.” The program wraps on a welcome romantic note with Irish helmer Benjamin Cleary’s charming “Stutterer,” which might as well be the opening scene in an early-2000s date-night indie movie. Camera (color, widescreen, HD), Philip Robertson; editor, Sarah Peczek; music, Trimor Dhomi; production designer, Leonora Mehmeti; costume designer, Vesa Kraja; sound, Pellumb Ballata; sound designers, Oscar Bloomfield-Crowe, Michael Chapman; visual effets, Adam Lyons; line producer, Besnik Krapi; assistant director, Blerta Basholli. With: Lum Veseli, Andi Bajgora, Meihate Qena, Luan Kryeziu, Eshref Durmishi, Astrit Kabashi, Xhevdet Jashari, Armond Morina, Aurita Agushi, Sunaj Raca, Eni Cani, Kushtrim Sheremeti.

In terms of sheer cinematic value, German director Patrick Vollrath’s 30-minute “Everything Will Be Okay” is the standout, reminiscent of Xavier Legrand’s exceptional 2014 nominee, “Just Before Losing Everything” — a white-knuckle drama in which a desperate mother gathers her children and attempts to escape her abusive husband.

Stripped of exposition and told from the uncomprehending p.o.v.

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