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\u201cWhen Oasis split up, everything went to shit.\u201d So asserts a typically erudite Liam Gallagher in Don\u2019t Look Back In Anger<\/em> over shots of Donald Trump, Elon Musk, Theresa May, and other lowlights of the years since he and brother Noel\u2019s acrimonious 2009 split. Did the break-up of a Britpop band actually break the world? Of course not. But did their return last summer \u2014 tambourines, bucket hats, elongated vowels and all \u2014 start to make it better? Documentarians Dylan Southern and Will Lovelace, alongside writer Steven Knight (Peaky Blinders<\/em>), certainly think so. And they make a hell of a case here.<\/p>\n <\/span><\/p>\n <\/p>\n There\u2019s been no shortage of blockbuster concert movies in recent years. The likes of Taylor Swift, Billie Eilish and Beyonc\u00e9\u2019s recorded tours have all thrived in a landscape where the communal escape live music provides has breached monopolistic ticket sellers\u2019 containment. What sets Don\u2019t Look Back In Anger<\/em> apart is the way it so lovingly, holistically captures the Live \u201925 phenomenon as it happened. It\u2019s a mercurial blend of introspective rock-doc and immersive concert experience boasting near-Get Back<\/em> levels of \u201cI can\u2019t believe this footage exists\u201d moments. (Liam\u2019s first rehearsal arrival feels, in several senses, biblical.)<\/p>\n <\/span><\/p>\n A rollicking paean to the unifying power of music.<\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n <\/p>\n From early-doors rehearsal-room reconciliation to final-night \u2018Champagne Supernova\u2019 stadium singalongs via pun-stuffed police briefings, sledgehammer-subtle sermons on forgiveness (a rare, over-scripted misstep), and a slew of memorable encounters with passionate mad-fer-its from Burnage to Brazil, Don\u2019t Look Back In Anger<\/em> indelibly crystallises a moment when doing the Pozna\u0144 and belting out \u2018Cigarettes & Alcohol\u2019 with fans of all ages, nations, and backgrounds genuinely felt like the answer to modern society\u2019s collective malaise. That the cinematographer likes of The Brutalist<\/em>\u2019s Lol Crawley and Moonlight<\/em>\u2019s James Laxton are behind the cameras, reverently framing moments of chaos and cathartic release in emotionally charged close-ups and awe-inspiring wide shots, certainly doesn\u2019t hurt.<\/p>\n <\/span><\/p>\n As anyone who\u2019s seen Lovelace and Southern\u2019s past films about LCD Soundsystem, Blur, and New York\u2019s turn-of-the-millennium indie scene will be well aware, the doc-making duo have a gift for taking cinematic snapshots of a cultural landscape and, within that, intimate portraits of their subjects. And while occasionally the scope of the duo\u2019s work can compromise its depth (Noel and Liam\u2019s much-hyped first joint interview in decades, while a sweary delight, could have absolutely used more of the time elsewhere spent labouring a deep-sea-diving metaphor in South Korea), this is such a rollicking paean to the unifying power of music that \u2014 in the spirit of the Gallaghers themselves \u2014 any minor foibles will be forgiven.<\/p>\n <\/span><\/div>\n An epic summer for Oasis fans becomes a euphoric cinematic experience. It\u2019s not perfect, but it\u2019s definitely, maybe the decade\u2019s best concert movie yet.<\/p>\n","protected":false},"excerpt":{"rendered":" The long-awaited reunion of Liam and Noel Gallagher, and Oasis\u2019 historic Live \u201925 world tour, is captured on film as it happened. \u201cWhen Oasis split up, everything went to shit.\u201d So asserts a typically erudite Liam Gallagher in Don\u2019t Look Back In Anger over shots of Donald Trump, Elon Musk, Theresa May, and other lowlights […]<\/p>\n","protected":false},"author":1,"featured_media":13934,"comment_status":"open","ping_status":"closed","sticky":false,"template":"Default","format":"standard","meta":{"footnotes":""},"categories":[47],"tags":[],"class_list":["post-13933","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-47"],"_links":{"self":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/13933","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/comments?post=13933"}],"version-history":[{"count":1,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/13933\/revisions"}],"predecessor-version":[{"id":13935,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/13933\/revisions\/13935"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media\/13934"}],"wp:attachment":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media?parent=13933"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/categories?post=13933"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/tags?post=13933"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Oasis:](\"https:\/\/imdbnews.ir\/wp-content\/uploads\/2026\/09\/oasis-dont-look-back-in-anger.jpg\")
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