When faced with a mirror, why do many of us seek to be something or someone else? Is it because we are dissatisfied with what we see? Does society subconsciously convince us to fit a particular image? Or is it our fascination with putting on a mask out of insecurity about reality, to protect ourselves against a cruel world?
A question to ponder, because at some point in our lives, we have all pretended. Yes, we have all put on a costume (physically or mentally), presenting ourselves to others, hoping to be liked. A masquerade that sometimes draws attention; once we lower our guard, we may have lost ourselves in the act and be faced with a harshness we cannot handle. A battle many struggle with daily, the most frightening side effect of it all is indeed devoid of any true identity.
A fascinating personality study, it is viewed through a camera lens in the 1968 film Negatives. The debut feature film directed by Hungarian-British Filmmaker Peter Medak (known for many others, including 1972’s The Ruling Class and the must-see 1980 Horror classic The Changeling), Negatives follows a young couple who dress up and play roles to revive their romantic intimacy. Classically known as role-playing, some would argue that this game is a healthy practice for couples because it allows them to explore their own sexuality and build confidence. A valid point: there is also the potential for these games to boil over into real life, blur lines, and be detrimental to the marriage of Theo and Vivien in Negatives.
A compelling story based on Peter Everett’s novel of the same title, Negatives explores the world of erotic fantasies between a young married couple, but in truth, can be viewed as far more than such. A very nuanced film with many layers, once you peel them back, you will see there is a tragedy amidst Theo (played by Peter McEnery, who is known for films such as 1978’s The Cat and the Canary) and Vivien (played by the award-winning Glenda Jackson, known for films such as 1973’s A Touch of Class). Particularly with Theo, he is a seemingly nice young man who is dealing with the inevitability of his father’s death as he lies sick in a hospital bed. Certainly weighing heavily on Theo, he continuously says everything will be alright and that his father will come home, but, as in his private life with Vivien, this is a fantasy.
Meanwhile, Theo crosses paths with an exotic German photographer named Reingard (played by the award-winning Diane Cilento, known for such films as 1973’s The Wicker Man), becomes enamored by her, and soon she is renting a room in his home with Vivien. At first, it seems the three are going along quite well, and a chemistry is developing. Although soon Reingard crosses a line, encouraging Theo into another fantasy, which threatens the very fabric of his marriage and overall existence.
The primary plot of Negatives, again, this all seems playful and non-threatening for most of its runtime. However, you soon realize that there is an identity crisis pouring out with a malleable Theo on the brink of a complete psychological breakdown. Something open to interpretation: the intrigue with Negatives is that, much like its amorphous characters, anything is possible.
Initially released in late summer 1968 in England, Negatives did reach the USA market, with releases in several major cities that drew a relatively positive response. Perhaps a result of its erotic undertone, which attracted audiences to the theaters, chances are they found much more once they experienced the movie from start to finish.
Now, nearly 60 years later, Negatives by and large has been a forgotten film, with several elderly VHS editions floating around but in poor condition. Unfortunate, considering the film’s thought-provoking subject matter, in 2025, Severin Films resurrected it with a brand-new Blu-ray edition.
A worldwide Blu-ray premiere, Negatives arrived on August 26, 2025, and features a 4K scan of the original camera negative from StudioCanal. A stunning restoration, it allows you to focus on Peter Medak’s truly artful filmmaking rather than a lesser-quality transfer. Beyond this, you also have the extras of several interviews (including those with Peter McEnery and Peter Medak), plus a second Blu-ray with a bonus film, 1963’s Comedy Sparrows Can’t Sing.
Altogether, if you have never seen Negatives, it is a bizarre yet captivating film that will stick with you and perhaps even have you question who you really are. Well worth picking up on Blu-ray, Cryptic Rock gives the 2-Disc Limited Edition release of Negatives from Severin Films 4 out of 5 stars.
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