Oasis: Don’t Look Back in Anger opened in U.S. theaters and select IMAX locations on Sept. 11, 2026, after a world premiere at the Venice Film Festival, giving the band’s reunion tour a second life as a global screen event.
The documentary follows Liam and Noel Gallagher through rehearsals and the 2025 reunion tour, combining performance footage with a story about the brothers’ reconciliation. Disney is distributing the film theatrically before a later streaming release on Disney+ internationally and on Hulu and Disney+ in the United States.
The tour becomes durable intellectual property
A concert is constrained by venue capacity, geography and schedule. A film can extend the same production to fans who could not get tickets and to markets the tour did not reach. It also gives the band, producers and distributors a new commercial window without asking audiences to treat the documentary as a substitute for the live show.
The IMAX component positions the release as an event rather than a routine music documentary. Large-format presentation emphasizes crowd scale and sound, helping theaters market the film to fans who value a communal experience.
The streaming window adds another layer. After the limited theatrical run creates urgency and press attention, Disney’s platforms can carry the title to a much wider audience and keep the reunion narrative available beyond the tour cycle.
Access is the film’s competitive advantage
Directors Dylan Southern and Will Lovelace were given access to the band during preparation and performance. The business value of that access is authenticity: fans have already seen phone footage and news clips, but a sanctioned production can offer sound, context and proximity that informal media cannot.
The challenge is maintaining editorial interest inside an official project. A documentary that feels purely promotional has a shorter cultural life. The Venice premiere and theatrical strategy signal an effort to present the film as cinema while still serving a large, invested fan base.
For music and film executives, the release is a useful model. A major tour can be planned not only as a sequence of dates, but as a content system with theatrical, streaming, archival and promotional value. The footage becomes an asset that can outlast the final encore.