That framing connects the new tour to the band’s 2009 split. Earlier footage and interviews place the comeback in the shadow of the rupture that ended Oasis, rather than treating the reunion as if the intervening years had erased the conflict.
The visual arc moves from an empty rehearsal room and backstage preparation to the scale of Oasis’s opening show in Cardiff. Liam appears rehearsing in darkness, while the brothers are shown gauging one another before the concerts begin. The effect is deliberately cautious: the trailer makes clear that a successful reunion was not presented as emotionally effortless.
The mood changes once the band reaches the stage. Noel reflects on having forgotten what Liam means to Oasis fans and says he was unprepared for the intensity of the audience response. Liam describes the tour as an opportunity to “change the narrative of the band,” suggesting that the comeback is also an attempt to redefine how Oasis’s story is remembered.
The documentary promises behind-the-scenes access across the Live ’25 tour, including:
Those elements position the film between a traditional concert movie and a relationship-focused music documentary. The performances provide the scale of the comeback, while the rehearsals and joint interview are intended to show how the brothers navigated returning to work together.
Steven Knight, creator of Peaky Blinders, is credited with creating and producing the film. Dylan Southern and Will Lovelace direct; the pair previously worked on music documentaries including Shut Up and Play the Hits. Magna Studios produced the documentary, which is presented by Sony Music Vision in association with Sony Music Entertainment UK.
The film’s stated pitch is notably positive. It is described as an uplifting account of one of the biggest musical events of 2025, but the trailer’s emphasis on doubt and old grievances gives that optimism some tension. The reunion is triumphant in public; privately, the film suggests, it was also a test of whether the Gallagher brothers could move beyond Oasis’s past.
The documentary’s release schedule begins at the 83rd Venice International Film Festival, where it is set for its world premiere. Both Gallagher brothers are expected to attend the festival.
The film then moves into theaters and IMAX. Limited early-access IMAX screenings are scheduled for September 9 in the U.S. and Canada, followed by the wider theatrical and IMAX release on September 11, 2026.
After its cinema run, Oasis: Don’t Look Back in Anger is scheduled to stream later in 2026. Disney+ will carry it internationally, while U.S. availability is planned through Hulu and Disney+.
The trailer’s strongest idea is that Oasis’s reunion cannot be separated from the feud that made the band’s return seem unlikely. The film promises the roar of the Live ’25 crowds, but it also focuses on the hesitation before the first shows and the brothers’ own reflections on what Oasis means to them and to multiple generations of fans.
That makes Don’t Look Back in Anger a documentary about reconciliation only in the broadest sense. Its real subject is whether a band defined by volatility can change the meaning of its ending—and whether the emotional power of Oasis’s music is strong enough to outlast the conflict between its two central figures.
That framing connects the new tour to the band’s 2009 split. Earlier footage and interviews place the comeback in the shadow of the rupture that ended Oasis, rather than treating the reunion as if the intervening years had erased the conflict.
The visual arc moves from an empty rehearsal room and backstage preparation to the scale of Oasis’s opening show in Cardiff. Liam appears rehearsing in darkness, while the brothers are shown gauging one another before the concerts begin. The effect is deliberately cautious: the trailer makes clear that a successful reunion was not presented as emotionally effortless.
The mood changes once the band reaches the stage. Noel reflects on having forgotten what Liam means to Oasis fans and says he was unprepared for the intensity of the audience response. Liam describes the tour as an opportunity to “change the narrative of the band,” suggesting that the comeback is also an attempt to redefine how Oasis’s story is remembered.
The documentary promises behind-the-scenes access across the Live ’25 tour, including:
Those elements position the film between a traditional concert movie and a relationship-focused music documentary. The performances provide the scale of the comeback, while the rehearsals and joint interview are intended to show how the brothers navigated returning to work together.
Steven Knight, creator of Peaky Blinders, is credited with creating and producing the film. Dylan Southern and Will Lovelace direct; the pair previously worked on music documentaries including Shut Up and Play the Hits. Magna Studios produced the documentary, which is presented by Sony Music Vision in association with Sony Music Entertainment UK.
The film’s stated pitch is notably positive. It is described as an uplifting account of one of the biggest musical events of 2025, but the trailer’s emphasis on doubt and old grievances gives that optimism some tension. The reunion is triumphant in public; privately, the film suggests, it was also a test of whether the Gallagher brothers could move beyond Oasis’s past.
The documentary’s release schedule begins at the 83rd Venice International Film Festival, where it is set for its world premiere. Both Gallagher brothers are expected to attend the festival.
The film then moves into theaters and IMAX. Limited early-access IMAX screenings are scheduled for September 9 in the U.S. and Canada, followed by the wider theatrical and IMAX release on September 11, 2026.
After its cinema run, Oasis: Don’t Look Back in Anger is scheduled to stream later in 2026. Disney+ will carry it internationally, while U.S. availability is planned through Hulu and Disney+.
The trailer’s strongest idea is that Oasis’s reunion cannot be separated from the feud that made the band’s return seem unlikely. The film promises the roar of the Live ’25 crowds, but it also focuses on the hesitation before the first shows and the brothers’ own reflections on what Oasis means to them and to multiple generations of fans.
That makes Don’t Look Back in Anger a documentary about reconciliation only in the broadest sense. Its real subject is whether a band defined by volatility can change the meaning of its ending—and whether the emotional power of Oasis’s music is strong enough to outlast the conflict between its two central figures.