Oasis Film Wins Eight-Minute Standing Ovation at Venice

The Oasis reunion film took an eight-minute standing ovation at the Venice Film Festival on 5 September 2026. Oasis: Don’t Look Back in Anger premiered out of competition at the 83rd festival, and the brothers arrived by water taxi.

Steven Knight wrote the film, bringing his Peaky Blinders pedigree to a music story. Dylan Southern and Will Lovelace directed, and the running time stretches to 123 minutes. Sam Bridger, Guy Heeley, Knight and Tom Mackay produced, with Magna Studios presenting for Sony Music Vision.

The headline moment belongs to the brothers themselves. The film carries the first joint Liam and Noel on camera interviews in over 20 years. Fifteen years of estrangement end, on screen, with the pair answering questions in the same project.

Liam reviewed the result in one word: “Biblical”. He skipped the press conference and let the film do the talking. Critics backed him, and NME handed the film a four and a half star review.

Press conferences at Venice usually give a film its second headline. Liam skipped his, and the absence became the headline instead. His one word review travelled further than any answer he could have given on a panel.

Through the feud years, journalists interviewed the brothers in separate rooms. Each man told his own version of the split to his own camera. Sharing one film, one premiere and one standing ovation rewrites that pattern in public, permanently.

Meanwhile, the UK premiere turned Leicester Square into a band reunion of its own. Paul “Bonehead” Arthurs, Gem Archer, Andy Bell, Mike Moore and Christian Madden attended for the band. Johnny Marr, Bobby Gillespie, Sienna Miller and Jack Grealish joined the guest list.

Fans outside London got their own premieres too. Odeon Trafford Centre hosted a fan screening in Manchester, and Dublin ran another for Irish fans. The Oasis documentary page tracks the film’s full release story.

For context, Venice rarely hands music films this kind of reception. An eight-minute ovation puts a rock documentary in the company of festival prize contenders. The festival screened the film out of competition, so the applause carried no trophy, just noise.

The guest list mixed the band’s past and present deliberately. Bobby Gillespie shared bills with Oasis in the Britpop years, and Jack Grealish flies the Manchester flag in football. A premiere crowd like that tells the reunion story without a single speech.

Sony Music Vision backed the film as a cinema event from the start. A 123 minute running time, festival premiere and Leicester Square launch all signal theatrical ambition. Fan screenings in Manchester and Dublin extended the opening beyond the industry crowd.

Festival juries hand prizes to other films on the Lido. This one screened out of competition, so the ovation itself became the award. Trade papers measured the applause in minutes, and eight minutes placed the film among the festival’s most warmly received titles.

At the box office, the noise turned into money. The film had taken $12,485,044 worldwide by 4 October 2026, a month after the premiere. Cinema audiences treated a tour film like an event release, not a fan extra.

That said, the interviews give the film its lasting value. Setlists and sales figures fade, but the brothers explaining the reunion on camera closes a story that started in a Paris dressing room in 2009. The Oasis Live ‘27 lineup exists because the conversations in this film happened first.

Anyone who missed the cinema run should watch the release calendar. The film’s success strengthens the case for further screenings around the Live ‘27 dates in 2027. The Oasis Live ‘27 tickets may be gone, but the film still sells the reunion to anyone who wants the story.