For as long as the horror film has existed, so has the horror anthology. After all, it's by way of myth, legend, and stories shared around a roaring fire that tales of terror have weathered the sands of time. These days, "anthology" brings to mind Twilight Zone: The Movie or The Vault of Horror, movies that impart a handful of shocks before sending viewers on their way. However, it's the intention of Fear(s) of the Dark to explore the meaning behind some of our deepest despairs. At once imperviously artistic and ingeniously simple, Fear(s) of the Dark takes the notion of being scared to one of its most profound dimensions yet.

A cabal of today's brightest graphic artists have been tasked with creating a series of short animated pieces that put the "cartoons are for kids" philosophy to bed. French artist Blutch unleashes a pack of rabid dogs and their sadistic master, who wander in search of victims to ravage. America's Charles Burns tells a tale of love, obsession, and bugs when a young man falls for an emotionally needy woman. A Japanese girl confronts her inner rage in Marie Caillou's vignette. Italian illustrator Lorenzo Mattotti's story involves a man remembering a childhood spent in fear of a great beast terrorizing his village. The film ends on a particularly creepy note, thanks to Richard McGuire's example of what happens when you combine an old, dark house and one man's overactive imagination.

Much discussion has taken place concerning what makes a "pure" horror film. Although movies like Them and The Strangers claim they're getting back to basics, they're really asking for a "get out of criticism free" card to excuse an absence of action. They are onto something, though; we tend to forget that films are art and can perform without convoluted stories. Fear(s) of the Dark is sweet on symbolism, but the emotions buried beneath are ones anyone can identify with. Its images serve as the means as well as the end; the mere sight of grody bug monsters or those savage hounds isn't what's frightening but rather the subtext they entail. The film is titled Fear(s) of the Dark for a reason: it touches on what puts you at unease, both figuratively (through most of the shorts) and literally (via Pierre Di Sciullo's interludes).

Some segments do their jobs better than others, but you can't fault any of them for lack of ambition. Even if one vignette's themes leave you hollow, you'll receive  unique animation as a consolation prize. Casual film fans will likely respond most to the Charles Burns tale. It's the closest in style to "Tales from the Crypt" as the movie gets, though it still leads viewers down a deeper path than they'd expect. The last story (and the one that dominates the cover art) is a diabolical masterwork with a hundred little jolts, and Blutch's stark renderings are among the film's most brutal. Caillou's yarn was the only one that sort of faltered; while its bizarre creatures are impressionable, the premise never really goes anywhere. The Mattotti piece has great atmosphere, but its ultimate message ends up a tad muddled.

Fear(s) of the Dark is a creepshow unto its own, a grab bag of surreal goodies worth snatching up because of its uniqueness. Some may designate it esoteric twaddle fit only for the art snob crowd, but I believe this film provides an opportunity for everyone to leave the comfort of the light and embrace the unknown.

MY RATING: *** (out of ****)

(Released by IFC/MPI Home Video; not rated by MPAA.)

Review also posted at: www.passportcinema.com.