After several years working in German TV and locally-oriented film projects, Julia von Heinz had a significant breakthrough with “And Tomorrow the Entire World” — a taut, punchy political thriller with a youthful spirit of anti-fascist revolt, vigorous enough to land a Venice competition slot. Its success evidently raised the status of the director’s long-held passion project, an adaptation of Australian novelist Lily Brett’s semi-autobiographical 2001 title “Too Many Men,” which reckoned thoughtfully with her parents’ experience as Auschwitz survivors, and the hereditary nature of trauma. It emerges here, in somewhat simplified form, as “Treasure,” a watchably meandering vehicle for...