The most chilling consideration in “The Royal Hotel,” a tense tale of two Canadian 20somethings stuck in a mining town bar in the middle of Toxic Masculinity, Australia, is how nothing that happens there seems the least bit far fetched.

There’s nothing melodramatic about Kitty Green’s latest feature with her muse, Julia Garner. Garner’s performance has a “seen this” and “on the lookout for that” wariness, making her something of an Everywoman wading through the minefield of A Man’s World. Whatever Hanna wants out of life, a free-spirited trip with her bestie Liv (Jessica Henwick of “Game of Thrones”), sight-seeing, partying, maybe even a little romance on the road has to be pursued or practiced with an eye peeled for threats.

The threats can be almost any man she meets, given the right “wrong” circumstances.

Garner plays a young Canadian leery and weary of male privilege, men taking liberties and masculine loutishness trapped in the Armpit of Oz because her traveling companion didn’t budget for the trek. Next thing Hannah and Liv know, they’re broke and have to take temp “travel” jobs as barmaids/waitresses at what probably isn’t the roughest roadhouse in the Outback. “The Royal Hotel” is just rough, retrograde, unenlightened and in all likelihood “typical.”

They could use a translator and the viewer wouldn’t mind subtitles for their communications with their boss, Billy (Hugo Weaving). His accent’s thick, his business practices simple and his bar a worn institution he inherited from his father. Carol (Ursula Yovich) cooks for the joint, tolerates Billy’s brusqueness and watches his alcohol intake.

He lives in a travel trailer out front, and most nights, he passes out before he gets there.

The one thing the Canadians figure they understand is what sounds like the ugliest insult they’ve heard in years. But maybe “Smart c–t” is just “a cultural thing,” Liv offers. Hanna is a tad appalled at the setting, the work and the miners, alkies and “sh–kickers” who frequent the place. Liv has a lot of get along to get by about her.

“It won’t be so bad.”

But they can’t help but notice the drunken send-off the English barmaids who precede them get, the liberties taken and alcoholic “consent” and risks involved. And we can’t help but notice what the customers gripe about and their new boss raises hell about.

“What, no smile?”

We see the harassment, hear the off-color come-ons and catch the leers. There’s a lot of testosterone and an air of violence about the place and most every man in it.

Hanna and Liv pick up on that. And seeing their far-more compliant predecessors leave under than safe circumstances has Hanna suspicious even of a guy (Toby Wallace) she might be interested in and Liv careful in how she rejects one (James Frecheville) interested in her.

Because they’re all potentially future Billies, and possibly present variations of the menacing Incel Dolly (Daniel Henshall). Staying safe long enough to save up to flee is going to be tricky.

Green and “Ozark” alumna Garner made “The Assistant” together, another sly and unsettling look at a powerless young woman in toxic male work environment.

Hanna here is aware of her surroundings, cautious when it comes to the situations she allows herself to get into, capable of being charmed but always guarded enough and assertive enough that we don’t naturally fear for her.

Unless, that it, we consider how the willowy, pale blonde could stand up to the brute force on display all around her. And trying to look out of Liv in all this alcohol and testosterone may be Hanna’s riskiest undertaking. Because Liv is forever minimizing the risk.

Green and Henwick never let Liv become just a “type,” the looser, more careless one less suspicious of the motives of men. But we can see Liv is the weakest link in situations that will require them constantly on guard for each other to survive.

Weaving looks like himself but is almost unrecognizable in a boozy, slang-slurring fury. It’s a marvelous turn, even if the character’s function is to play up the “harmless” self-destructiveness of the male culture.

But this is Garner’s vehicle, and it helps to remember her flinty, opportunistic turn in “Ozark” when we see Hanna veer from gentle mollifying to bluff and blunt “Last call” in a bar where the burly clientele might not want to leave, and what’re YOU going to do about it?

Green takes some pains to avoid letting this story play out in tried and true “ladies face perils” or “women finally have had enough” fashion. She skips over moments that seem fraught in their build up — that tiny women “clearing the bar” at closing time (there is no law enforcement in this corner of Oz, even if the menfolk are forever wary of DUIs — or say they are) for instance.

But filmmaker and muse/alter ego have put recognizable, human characters in an extreme situation and dared us to guess how they’ll exit it. And no matter how they might leave, we absolutely believe every possibility of what might come, because that just comes with being a woman in a world that’s more hostile to them than you think.

Rating: R, violence, alcohol abuse, profanity

Cast: Julia Garner, Jessica Henwick, James Frecheville, Daniel Henshall, Ursula Yovich and Hugo Weaving.

Credits: Directed by Kitty Green, scripted by Kitty Green and Oscar Redding. A Neon release.

Running time: 1:31