Fear(s) of the Dark
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DVD Details
- Rated: Not Rated
- Run Time: 1 hours, 23 minutes
- Video: Color
- Encoding: Region 1 (USA & Canada)
- Released: October 27, 2009
- Originally Released: 2008
- Label: Ifc Independent Film
Performers, Cast and Crew:
Starring | Louisa Pili, Nicole Garcia, François Creton, Christian Hecq, Aure Atika & Guillaume Depardieu | |
Directed by | Blutch, Charles Burns, Marie Caillou, Pierre di Sciullo, Lorenzo Mattotti & Richard N. McGuire | |
Narrated by | Arthur H | |
Screenwriting by | Blutch, Charles Burns, Pierre di Sciullo, Jerry Kramsky, Richard N. McGuire, Michel Pirus & Romain Slocombe | |
Composition by | Rene Aubry, Boris Gronemberger, Laurent Perez Del Mar & George Van Dam | |
Executive Production by | Valérie Schermann & Christophe Jankovic |
Entertainment Reviews:
Rating: 3/5 --
As often happens with these portmanteau projects, some segments (Charles Burns' especially) are better than others.
Full Review
The List
3 stars out of 5 -- The results are individually inventive....Charles Burns' offers the best creep-out, warping a tale of possessive love into clammy bodyhorror.
Empire
Rating: 3.5/4 --
Brilliantly creepy.
Full Review
Philadelphia Inquirer
Rating: 3/4 --
The black-and-white images are so cutting edge, you could bleed.
Full Review
Boston Globe
Rating: 3/4 --
Taps into something primal in human nature, something that makes the hair on the back of the neck stand up and shivers run down the spine.
Full Review
From the Front Row
Graphic art and comics fans will appreciate its high-art wrinkle, but it's pretty tame stuff conceptionally.
Full Review
East Bay Express
Shot in luminous whites, pulsing blacks and gorgeous grays, the stories explore sexual insecurity, rural superstition and sociopolitical anxieties with an inventiveness that's seldom scary but never less than mesmerizing.
New York Times
Product Description:
As a storyteller, H.P. Lovecraft might have felt a tad shortchanged by this film's relative lack of tentacled beasts. As a literary critic, he would've delighted in the superficially stark, effectively visceral topography of FEAR(S) OF THE DARK, an animated French-language film that extends into modern media the exact anatomical lines of latent anxiety that were drawn by the supernatural-minded painters of the 19th century and burbled in the physiology known by Edgar Allan Poe. In a feat all the more remarkable by virtue of the fact that the movie is a collaborative showcase of six different drawing and animation styles, provocative in their very mutations, FEAR(S) manages to escape the seemingly inherent horror-anthology fate of adding up to an uneven tone. Rather than a campfire patchwork, it's an omnibus of inexplicable internal unease, a mounting abstract dread that resides in a collective temporal memory-mist and culminates in an extended passage of Kafkaesque isolation. Think of it as the history of fear.
Since FEAR(S)'s six contributing visual artists come from backgrounds in illustration and graphic design and were largely new to animation when they joined the project, the film lends itself to a sort of cross-media artistic appropriation, namely the retaining of the techniques of still visuals so that those techniques might take on new artistic functions and philosophies when put into motion. In one 3-D tale of insects and the strangeness of sexual encounters, comic-book crosshatchings (meant to convey, when drawn on the page, a single instance of light refraction) oftentimes remain fixed to single spots on characters' faces even as the figures move with subtle elasticity through cartoonist George Burns's bright, alienating world of thick outlines and unnaturally limited space, effectively echoing a theme of grim stagnancy.
Since FEAR(S)'s six contributing visual artists come from backgrounds in illustration and graphic design and were largely new to animation when they joined the project, the film lends itself to a sort of cross-media artistic appropriation, namely the retaining of the techniques of still visuals so that those techniques might take on new artistic functions and philosophies when put into motion. In one 3-D tale of insects and the strangeness of sexual encounters, comic-book crosshatchings (meant to convey, when drawn on the page, a single instance of light refraction) oftentimes remain fixed to single spots on characters' faces even as the figures move with subtle elasticity through cartoonist George Burns's bright, alienating world of thick outlines and unnaturally limited space, effectively echoing a theme of grim stagnancy.
Keywords:
Animation
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Mystery
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Thriller
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Disturbing
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Surreal
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Short
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Theatrical Release
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Anthology
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Compilation
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Artists
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Animated Worlds
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Product Info
- Sales Rank: 2,515
- UPC: 030306931098
- Shipping Weight: 0.25/lbs (approx)
- International Shipping: 1 item