This year, BAM’s ANNUAL festival of international horror, which starts on Monday and runs for more than a month, isn’t trying to scare you. Instead, it’s dusting off funky relics from the attic: movies about killer fog, killer cars, killer reindeer, and teeny-weeny killer Frenchmen.

These are movies with soundtracks thick with comforting static, movies set in foreign countries and mostly shot on soundstages. These are the movies other movies dream about after eating too many spicy sausages. Watching these movies is like sitting around the campfire, listening to ghost stories.

Which is the plot, actually, of “The Company of Wolves” (screening March 14), directed by Neil Jordan (“The Crying Game”) and starring Angela Lansbury as the kind of granny who likes to point out that sex and Satan both start with an “s.” She spends the movie terrifying her pubescent granddaughter with warnings about men who are “hairy on the inside.” For those who like a little gore, those hairy insides frequently erupt like slimy lava, and this dreamy version of Little Red Riding Hood is punctuated with bloody set pieces.

Japan’s “Kwaidan” (March 8) offers more stylized soundstage spookiness. Japanese folktales teach us that some fears cross all borders: In particular, the fear of finding someone else’s hair all over your house and the fear that the ghosts who command you to perform songs for them might show their appreciation by tearing your ears off, rather than a nice round of applause.

In Tod Browning’s classic “Devil-Doll” (March 21) everyone hangs out on the top deck of the Eiffel Tower, just to prove that they’re in Paris. Lionel Barrymore plays an escaped convict who unleashes a horde of tiny, mind-controlled French people upon those who sent him to prison for a crime he didn’t commit. This movie was made in 1936, after Browning’s success with “Dracula”; so don’t try to read any topicality into the idea of murderous, miniature French sailors slithering into beds.

In Finland’s “The White Reindeer” (March 28), it’s what you don’t see that’s scary. A sassy young bride keeps turning into a reindeer, causing the local men to chase after her for reasons we can only speculate on, queasily. Since the film is set in the frozen wastes of Lapland, you can understand that these guys might be hungry for some female companionship. But, still, a reindeer?

Christians get their worst fears realized in England’s “The Wicker Man” (February 21), about a devout cop who arrives in an isolated community to investigate the disappearance of a little girl. He quickly finds a pagan agenda has infiltrated the school system and that everyone is high on free love and nature worship. Liberal humanists will find their “Kumbaya” ideology pretty thin stuff in the face of these creepy country cousins who dance around the maypole and offer up human blood to guarantee good harvests.

Conversely, “The Fog” (February 22) and “The Car” (March 1) stick it to rural communities. In “The Car” a modified Lincoln makes pancakes out of the entire population of a desert town. In “The Fog” some undead pirates show up in a fogbank to settle a score with a coastal community’s town fathers. Ridiculously atmospheric, this film is as much fun as watching Ben Franklin come back from the grave to bite Bill O’Reilly in the neck.

Until March 29 (30 Lafayette Avenue, Brooklyn, 718-636-4100).