A bracing, trippy thriller that lets technique overwhelm a simple story, “NAGA” is like no Saudi film we’ve ever seen before.

Writer-director Meshal Al Jaser’s tale of young female (limited) rebellion and a quest to escape a posh party in the desert, a police raid on that party, a faithless boyfriend and assorted Saudi rednecks, sexists and a controlling, menacing and unforgiving father is souped-up to the point of near incoherence.

Endless swish-pans, blackouts with dialogue or sound effects only, shots held so short we can’t make out what they’re capturing and a non-linear narrative give the viewer pause.

And it makes one want to pause the picture and re-watch a bit just to see what is passing us by in this stylish but over-stylized blur. Was Al Jaser hoping to rush things by Saudi censorship and official disapproval by making the picture something of a trial to follow and make sense of?

A prologue shows us a moment of horrific violence in 1975. A man armed with an AK-47 marches into a hospital and shoots a new mother and the doctor treating her.

Decades later. Sarah (Adwa Bader) is a young adult daughter still living at home, still sneaking smokes behind her parents’ backs, still coping with her bratty kid brother. He swipes her purse and she dashes out after him, only to duck back inside the door to the family courtyard to cover her head and face.

This is Saudi Arabia, after all.

A day of shopping with girlfriend Hadeel (Mariam Aishagrawi) turns testy, and ends with Sarah slipping off and getting into the ancient Chevy Impala of a lout making boorish noises and gestures to her across the street.

Saad (Yazeed Almajyul) is her secret boyfriend. Sarah just needed the “date” with Hadeel as cover for spending the day and part of the evening with him. Her stern, traditional talk-radio addict Dad (Khalid Bin Shaddad) is to pick her up at 9:59. Sharp.

When Saad talks her into a party at someone’s “camp in the desert” (in Arabic with subtitles, or dubbed), she hopes it’s worth “getting slaughtered by my Dad” over.

“NAGA” — no idea what the title means, and I can’t find anyone else who has reported it — descends into an afternoon-and-night-long odyssey of the surreal variety, an acid trip into a sexist, patriarchal hell filled with men behaving badly and a young woman trying to navigate around them or through them just to get back in time and avoid what might be even worse — her father’s fundamentalist fury.

It begins with pistol-packing rednecks in a pick-up truck (of course) menacing them on a forlorn desert highway through the dunes, getting lost via Google Maps and Saad’s general incompetence, running over a camel calf and facing the ire of a camel herder and an enraged, pregnant mama camel.

Even taking a break to relax canyonside and shout a couple of echoes into the ether has an air of menace as somebody starts shouting back at them.

Was that a gunshot?

The mostly-male party is filmed in a flurry of shots and edits. A male voice warns Sarah to “Get out of here. This is no place for you.” At least there are other women, not many, in this Saudi sausage fest. Sarah doesn’t seem to do well with women, though.

Her efforts to get out, get away from Saad and get home grow more frantic and helpless by the minute. Her phone dies and a single woman trying to find a charger among the men can’t get a break.

She overhears a famous poet (Jabran Aljabran) coached through some hackwork ode to the national soccer team. And now Sarah knows he’s a fraud, and he knows Sarah knows. That won’t do.

The complications pile up in such a visually disorienting flood that we’re as distressed and lost as Sarah, much of the time.

But Bader holds this overworked jalopy on the road with a fierce breakout performance. Sometimes, all Sarah can do to make a man leave her be, let her go or take her home is scream. So she does.

Bader lets us see the calculations this young woman makes, the risks she’s willing to take, the native cunning she leans on to escape this or steal that. We sense the impotent rage simmering up in Sarah, who wouldn’t be in any or at least most of these fixes if she had a few more rights — to drive, to not fear every man as a potential predator and her own father as judge, jury and punisher.

Maybe “slaughtered” is a little hyperbole on her part. But as we learn about that Dad and his connection to that bloody prologue, maybe we take him as seriously as she does.

“NAGA” is a frustrating movie. Overwrought we can buy into. But over-stylized, over-edited, over-done and overlong?

I appreciate what Al Jaser might be saying here. But it’s pretty obvious that this “Get back to Riyadh from the party before Dad finds out” dark comedy is simply spoiled by everything our filmmaker piles onto that simple quest premise.

Rating: TV-MA, violence, smoking, profanity

Cast: Adwa Bader, Khalid Bin Shaddad, Jabran Aljabran and Yazeed Almajyul

Credits: Scripted and directed by Meshal Al Jaser. A Netflix release.

Running time: 1:51