The Sarajevo selection is initially an engaging variation on 'Teorema', with the arrival of a handsome young stranger who disrupts the dynamics of an unpleasant, nouveau riche Slovenian family.

Fresh from its world premiere in Tribeca’s international narrative competition, Slovenian director-writer Sonja Prosenc brings her third feature, the social satire “Family Therapy,” to compete in Sarajevo. The filmmaker’s latest takes an absurdist spin on the premise of Pier Paolo Pasolini’s “Teorema,” in which the arrival of a handsome young stranger disrupts the dynamics of an unpleasant, nouveau riche Slovenian family. While it’s a fun film to watch for most of its running time, Prosenc lets the story spiral out of control, spiraling through several natural endings. As with the director’s previous films, “The Tree” and “History of Love,” all shot by the talented Mitja Ličen (“Small Body”), the glorious cinematography, strong performances, and breathtaking production design go some way to making up for the screenplay’s shortcomings.

The striking opening moments, with a smoking car engulfed in flames by the side of the road and a family of three scrambling to safety, are a bit of a tease, since the family in the photo plays only a small role in the film. Instead, the titular family — the Kralj family (which translates as King, of course) — are in a luxury car that drives past the one in need without stopping to help.

The Kraljs’ strange, unsympathetic behavior embarrasses 25-year-old French newcomer Julien (Aliocha Schneider), who has just arrived for an extended visit. He is the son of family patriarch Aleks (Marko Mandić) from a previous relationship. It is clear that father and son know little about each other, and the Kralj women, artist-gallery owner wife Olivia (Katarina Stegnar) and unhappy “in-between” daughter Agata (Mila Bezjak), prove less than hospitable.