‘Oasis: Don’t Look Back in Anger’ Directors Explain Why They Hid Cameras During the Shoot

Documentarians generally aspire to be invisible relative to their subjects — but Dylan Southern and Will Lovelace’s new project was so delicate that they decided to be absent from the room entirely.

For the documentary Oasis: Don’t Look Back in Anger , the filmmakers hid a camera rig in the London studio where Liam and Noel Gallagher met for the first time in 15 years to rehearse for Oasis ’ 2025 reunion tour.

This rig was designed so the band “would never see a single member of the film crew,” Southern says, with footage livestreamed to a room outside the rehearsal space where Southern and Lovelace watched the famously feuding brothers reunite in real time.

“I don’t think Liam even realized there were cameras there for the first week,” Southern adds.

Related Oasis Documentary Trailer Reveals Gallagher Brothers’ Reunion Hesitation: ‘Will It Fall Apart Again?’ These $32 Running Headphones Light Up at Night to Keep You Safe On Your Evening Walk or Run A Step-by-Step Guide to HBO Max: Here's What to Watch & How to Get the Streaming Service for Free Southern and Lovelace assembled footage from these rehearsals — and of the phenomenon of a world tour that followed and the brothers’ first joint interview in more than 20 years — for Don’t Look Back in Anger , which will premiere at the Venice International Film Festival in September, followed by a theatrical release Sept.

11 (locations are still to be announced).

It will hit streaming later this year internationally on Disney+ and in the United States on Disney+ and Hulu.

Southern and Lovelace — also the directors of LCD Soundsystem concert film Shut Up and Play the Hits and Meet Me in the Bathroom , adapted from Lizzy Goodman’s book of the same name about early 2000s New York indie-rock — say their latest project is about the Gallaghers’ complicated interpersonal dynamics, the tidal wave of emotions experienced by fans who went to see them live and, ultimately, the interplay between the two.

“When the lights came up at the end of the first concert in Cardiff [Wales],” Southern says, “we have a sequence where you just see people looking shell-shocked, like they’ve been through every possible emotion.

Seeing that in real time [was] when we were like, ‘We knew this was going to be big, but it’s on a different level emotionally than what we’d thought.’ “Then, as the film progresses, you see the music bringing [the brothers] together,” Southern continues.