“Primas” begins obliquely, with scenes of dreamily abstract imagery, a young woman’s whispered narration, and vérité snippets of her family life in a small Argentinian town. Only over time is it revealed that the young woman was the victim of a horrific rape when she was a pre-teen — kidnapped, bound, assaulted, and then set afire. Despite the ordeal, she miraculously survived but has disfiguring burns on much of her body. As her story is unfolding in teasing fragments, another young woman, her cousin, is introduced. She lives in Buenos Aires, and she, too, has a painful history — of sexual abuse at the hands of her father. Director Laura Bari, the two women’s aunt, invites the pair to Montreal, where she now lives, to participate in a series of movement-based exercises, allowing the cousins to transform their experiences into art and free themselves from the shadows of their past.