“Filip” is a Polish World War II tale about a Jew, scrambling to survive the ongoing Holocaust, having his revenge by bedding every German woman he can — soldiers’ wives especially — while hiding out in Frankfurt.

Based on an autobiographical novel by Leopold Tyrmand, it plays as a dark wish fulfillment fantasy, a “How I Survived the War” bent into “What I Should Have Done to My Oppressors.” It’s bleak, in a frothy sort of way, and built around a hero who is intensely unlikeable. But we know, even if the Nazis don’t, that he has his reasons.

Eryk Kulm has the title role, a man young and in love, ready to debut a dance routine he’s worked out with his beloved Sara (Maja Szopa) at a popular music hall in Warsaw. They’re giddy as they chatter down the crowded streets, meeting friends, his sisters and parents as they’re about to perform.

But this is Warsaw, 1941. They’re in the ghetto. All that bubbly smalltalk they and their youthful friends exchange about plans and hopes might keep them hopefjul. But we know where they’re going. Filip’s over-sized pants falling down, mid-number, is the least of this act’s problems. Germans burst in, shoot a few folks just because, and Sara dies.

Two yeas later, dapper, cunning and multi-lingual Filip is in Frankfurt, posing as a French “foreign worker” pressed into service as a waiter at a high-end hotel with Pierre from Belgium (Victor Meutelet) and other handsome young men, “the best conquered Europe has to offer,” boasts their concierge.

They have it pretty good — access to fine food and drink, use of the pool, and a need to “service” the frustrated women of a country whose male populace is mostly absent, temporarily if not permanently.

“Surely your fiance is at the front?” Filip, who sees himself as irresistible to the “German brood mares,” asks/taunts one willing partner.

The fiesty, anti-Nazi Blanka (Zoe Straub) may join Filip and Pierre as they secretly listen to Churchill talks on the radio, may see Filip and her as “a good match,” even though Pierre is supposedly her boyfriend. But Filip isn’t making plans.

“I’ll see you after the war,” is his pillow talk (the film is in Polish, German and French, with subtitles).

His assignation with her is no different from any other German woman, younger or older. He makes a point to cover her mouth, lest her passion give him away. Or perhaps he doesn’t want to think of conquests enjoying themselves.

Filip smuggles booze and contraband out of the hotel to an anti-Semite who “doesn’t like Jews, but I like you” (Werner Biermeier), a man who keeps a number of Polish Jew slave laborers alive via his “employment.” Filip stumbles into a Pole (Sandra Drzymalska) who knew him from school, now married and perhaps interested in giving him away, or blackmailing him. And there’s the photo lab worker Lisa (Caroline Hartig), who rebuffs his arrogant, rude advances, but who softens to Filip as he softens around her.

But this character marches through this world without sentiment or humanitarian distraction. He is almost brazen about his “secret” Jewishness. It’s not quite an open secret at the hotel. And he never lets us forget that he’s out for number one, and number one wants to survive this.

Hearing about “ghettos burned to the ground” back home, that “you might be the last (Polish Jew) left,” leaves Filip unmoved. Deaths and threats of betrayal don’t have shake his resolve.

Filip has his “new method of revenge on the German nation” to consider.

Kulm’s performance, taking Filip from enthusiastic plans to help him and Sara hustle to survive to calculated seductions (there are many) to perhaps awakening to his own chance of happiness, or at least feeling the peril that his reckless actions have put him in, is subtle and poker-faced.

That lends the narrative a general disconnect from the dangers of his situation and death facing him and this untouched-by-the-war oasis city (until the third act) and robs the picture of some of its urgency.

Michal Kwiecinski’s film has echoes of “Europa Europa” and “The Unbearable Lightness of Being” in its “hiding in plain sight” survival story and the existential disconnect of sex and love under oppression. The violence of war, when it errupts in summary executions or that first air raid on Frankfurt, is jolting.

It takes some getting used to the idea of never quite fearing for Filip because he doesn’t seem to fear for himself, and he’s loathsome in many ways. But “Filip” still makes for a grimly picaresque burlesque of a survivor’s narrative, a version of “The Pianist” in which our protagonist is arrogant, heedlessly brave and hellbent on having his revenge on “the German State” and the racist, murderous Nazis and their equally vile wives.

Rating: TV-MA, violence, sex, smoking, profanity

Cast: Eryk Kulm, Victor Meutelet, Caroline Hartig, Zoe Straub, Sandra Drzymalska, Werner Biermeier, Robert Wieckiewicz and Maja Szopa

Credits: Directed by Michal Kwiecinski, scripted by Michal Kwiecinski, Michal Matejkiewicz and Anna Gronowska, based on a novel by Leopold Tyrmand. A Netflix release.

Running time: 2:05