Oasis Bring Swagger to Venice as Documentary Celebrates Reunion

 Noel Gallagher, left, and Liam Gallagher arrive at the 83rd edition of the Venice Film Festival in Venice, Italy, on Saturday, Sept. 5, 2026. (AP)
Noel Gallagher, left, and Liam Gallagher arrive at the 83rd edition of the Venice Film Festival in Venice, Italy, on Saturday, Sept. 5, 2026. (AP)
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Oasis Bring Swagger to Venice as Documentary Celebrates Reunion

 Noel Gallagher, left, and Liam Gallagher arrive at the 83rd edition of the Venice Film Festival in Venice, Italy, on Saturday, Sept. 5, 2026. (AP)
Noel Gallagher, left, and Liam Gallagher arrive at the 83rd edition of the Venice Film Festival in Venice, Italy, on Saturday, Sept. 5, 2026. (AP)

Liam Gallagher pumped his fist in the air and his brother Noel flashed a victory sign as the Oasis rock stars arrived by water taxi at the Venice Film Festival on Saturday ahead of a documentary chronicling their blockbuster reunion tour.

Asked by a Reuters reporter how it felt to be in Venice, Liam replied: "Biblical man, biblical." Noel opted for a more Italian response: "Bellissimo."

Later, Liam appeared less impressed by photographers yelling for attention. "Why all the shouting? Is this what you do at the Venice Film Festival? Scream at people?" he asked.

Oasis, the ‌Manchester band ‌whose anthems helped define the 1990s before feuding between the ‌two ⁠brothers tore it ⁠apart, reunited last year for a tour across Britain, Ireland, North and South America, Asia and Australia.

The documentary "Oasis: Don't Look Back in Anger" follows the gradual repair of one of music's most famous fractured relationships over weeks of rehearsal and months on the road.

"You sort of saw that reconciliation happen on stage in front of the world," said Dylan Southern, who directed the film alongside Will Lovelace.

The thaw takes time. ⁠When Liam arrives for his first rehearsal he doesn't acknowledge ‌anyone around him before leaving abruptly without saying ‌goodbye.

Underscoring their mutual animosity, Noel reveals that their respective children had never met before the ‌reunion tour but swiftly went on to become great friends. At the end ‌of the film, Noel describes Liam as "delightful" — something he admits he had never expected to hear himself say.

The filmmakers said they deliberately avoided interfering, keeping themselves largely invisible during the lengthy practice sessions and allowing events to unfold naturally.

As shooting moved into the concert stadiums, ‌Southern said the focus widened to include the fans whose affection became an integral part of the brothers' rapprochement.

Steven Knight, ⁠who wrote the ⁠script, said the filmmakers had no way of knowing whether the reunion would succeed, but always hoped the story would become one of forgiveness.

"From the beginning, we wanted to make this a film about reconciliation, redemption and forgiveness," he said, adding that neither Gallagher was likely to express emotion openly.

"They're British working-class men, so they're not going to high-five or hug or cry," he said.

Knight, who is writing the script for the next James Bond film, said the real-life story of the Oasis tour proved more compelling than anything he could have scripted.

"This is better than any fiction that you could write," he said. Southern chipped in: "And no one could play Liam Gallagher except Liam Gallagher."

The film is being shown out of competition at the Venice Film Festival, which runs until September 12.



Robert Pattinson and Oasis Bring Star Power to Venice Film Festival

 This image released by A24 shows Robert Pattinson, left, in a scene from the film "Primetime." (A24 via AP)
This image released by A24 shows Robert Pattinson, left, in a scene from the film "Primetime." (A24 via AP)
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Robert Pattinson and Oasis Bring Star Power to Venice Film Festival

 This image released by A24 shows Robert Pattinson, left, in a scene from the film "Primetime." (A24 via AP)
This image released by A24 shows Robert Pattinson, left, in a scene from the film "Primetime." (A24 via AP)

The worlds of rock and movie stardom are colliding at the Venice Film Festival, as both Robert Pattinson and Oasis frontmen Noel and Liam Gallagher arrive on the Lido for world premieres on Saturday.

Pattinson’s film, “Primetime,” is about the reality series “To Catch a Predator” and host Chris Hansen at the height of its success on Dateline NBC, while the Gallaghers are coming in support of a documentary about their 2025 reunion tour. Both films will be in US theaters in September.

With many movie star moments already in the rearview, from George Clooney’s lifetime achievement award to the emotional ovation for John Malkovich’s performance in “Wild Horse Nine,” the combination of Pattinson and Oasis on the same day could be a high-wattage pinnacle for this year’s festival.

Robert Pattinson plays Chris Hansen “Primetime,” which was written by Ajon Singh and directed by Lance Oppenheim, has already inspired discourse and headlines with just its trailer and subject matter. It’s based on journalist Luke Dittrich’s “Esquire” article “Tonight on Dateline This Man Will Die,” which explores a 2006 sting operation on Texas assistant district attorney Bill Conradt. He died by suicide as police officers descended on his home with the show’s television cameras outside.

Oppenheim, in his director’s statement, said that he “wanted to trace the disparate ambitions of people who existed inside this apparatus — a journalistic crusader, a mercenary TV producer and a wide-eyed Hollywood dreamer — converging into a moment of crisis.”

Hansen was not involved in the making of the movie and has made several public comments about it, including that he had always thought Denis Leary should have played him and questioning the motives of the filmmakers. He was invited to see the movie before the festival, but took issue with the NDA he was asked to sign beforehand.

Last year, the series was also the subject of an acclaimed documentary, “Predators,” from filmmaker David Osit. It's currently streaming on Paramount+.

For Pattinson, “Primetime,” in theaters Sept. 25, is one more buzzy performance in a banner year that’s already included memorable performances in hit films from “The Drama” to “The Odyssey” and with “Dune: Part Three” still to come.

The Oasis documentary, subtitled “Don’t Look Back in Anger,” is part concert film and part exploration of the contentious relationship between the Gallagher brothers, whose long-held feud led to Oasis disbanding in 2009. It includes never-before-seen rehearsals and what was then their first joint interview in 25 years.

“We set out to make a film about the reconciliation of two brothers, infamous for their volatile relationship, but we also wanted to make a film about the power of music and the way Oasis’ songs have continued to have a life of their own, as the band lay dormant for fifteen years,” co-directors Dylan Southern and Will Lovelace said in their directors' statement. “The documentary, like the reunion and the tour, took on a life of its own.”

It’ll be in theaters shortly after the festival. Disney is giving “Oasis: Don't Look Back in Anger” an IMAX release on Sept. 11, and it's expected to arrive on the Disney+ streaming service later this year.


Director Maggie Gyllenhaal Ditched AI for Marilyn Monroe Film

President of Venezia 83 Competition jury Maggie Gyllenhaal poses on the red carpet on the day of the opening ceremony of the 83rd Venice International Film Festival, in Venice, Italy, September 2, 2026. (Reuters)
President of Venezia 83 Competition jury Maggie Gyllenhaal poses on the red carpet on the day of the opening ceremony of the 83rd Venice International Film Festival, in Venice, Italy, September 2, 2026. (Reuters)
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Director Maggie Gyllenhaal Ditched AI for Marilyn Monroe Film

President of Venezia 83 Competition jury Maggie Gyllenhaal poses on the red carpet on the day of the opening ceremony of the 83rd Venice International Film Festival, in Venice, Italy, September 2, 2026. (Reuters)
President of Venezia 83 Competition jury Maggie Gyllenhaal poses on the red carpet on the day of the opening ceremony of the 83rd Venice International Film Festival, in Venice, Italy, September 2, 2026. (Reuters)

Actress-director Maggie Gyllenhaal said Friday she had abandoned using AI video-generation technology for her upcoming film about Marilyn Monroe because "it fundamentally did not work."

The American is head of the jury at this year's Venice Film Festival, but she is also premiering her new 17-minute film depicting 1950s screen icon Monroe.

The short movie imagines Monroe as a 100-year-old, with Dakota Johnson playing her before her death in 1962.

"The people who commissioned this project from me asked me to use AI," Gyllenhaal told a panel discussion about AI in Venice.

"They were using licensable AI, training it off of Marilyn Monroe films that we had licensed. And I went for it. I was like, 'All right, I'm curious. I don't know. Let's see'," Gyllenhaal told The Future of Creativity event.

"And it fundamentally did not work. We worked hard at it, and in the end, I threw it away because what was coming through Dakota playing Marilyn Monroe was so much more moving, human, alive."

Her statement underlines the current limitations of AI video technology, which has sparked fears about the impact on jobs throughout the film and TV industries.

The "Dark Knight" actress and director of "The Lost Daughter" also revealed how AI companies are seeking to license the images of actors in order to reproduce them through software.

"Someone who I respect a lot theoretically asked me to consider the idea of asking actors who trust me, because I have a lot of actors who trust me that I love, and they should trust me to give me their likeness and to make a film with them," she said.

"I thought it's completely and absolutely different paradigm than how I think, how I work," she added.


Fall Movie Season is Here. Here Are 5 Early Oscar Predictions

FILE - An Oscar statuette sits on display at an opening event for the "Meet The Oscars, New York" exhibit at the Time Warner Center in New York, Feb. 25, 2010. (AP Photo/Jason DeCrow, File)
FILE - An Oscar statuette sits on display at an opening event for the "Meet The Oscars, New York" exhibit at the Time Warner Center in New York, Feb. 25, 2010. (AP Photo/Jason DeCrow, File)
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Fall Movie Season is Here. Here Are 5 Early Oscar Predictions

FILE - An Oscar statuette sits on display at an opening event for the "Meet The Oscars, New York" exhibit at the Time Warner Center in New York, Feb. 25, 2010. (AP Photo/Jason DeCrow, File)
FILE - An Oscar statuette sits on display at an opening event for the "Meet The Oscars, New York" exhibit at the Time Warner Center in New York, Feb. 25, 2010. (AP Photo/Jason DeCrow, File)

Fall movie season also means Oscar season.

It might be only just September, but the jockeying for next March's Academy Awards is well underway. Movies first started revving up their Oscar campaigns at the Cannes Film Festival in May. But now that the fall festivals, in Venice, Telluride and soon Toronto, are in full swing, so is the prognosticating about what's in the mix for awards.

There is much still to come. Sandworms! (“Dune: Part III”) Old Tom Cruise! (“Digger”) Oh my! But here's an early survey of the Oscar landscape, with a few predictions mixed in.

‘The Odyssey’ won't end up the best picture favorite. At this point, Christopher Nolan's epic deserves to be considered the movie to beat. His previous film, “Oppenheimer,” steamrolled its way to best picture and Nolan's first Oscar, for best director. His singular stature is such that back-to-back wins might sound good to academy members. But “The Odyssey” isn't quite as well-loved as “Oppenheimer,” and, fun fact, no movie that Homer translators have come out against has ever won best picture. OK, so that's a small subset. But being the front-runner for more than half a year is hard, and the academy has largely favored smaller films in recent years. This prediction could come back to bite me, but, right now, I'd take the field.

The New York movie is alive and well. It's going to be a good fall for NYC. A number of the season's standouts derive a lot of their texture and grit from the Big Apple. That includes Jordan Firstman's hysterical and surprisingly tender “Club Kid” (Nov. 6), in which he stars as a gay clubgoer who finds out he has a child; “Paper Tiger” (Nov. 13), James Gray's engrossing Queens-set drama about family and 1980s mafia corruption; “The Only Living Pickpocket” (Oct. 23), starring John Turturro as an aging pickpocket in a much-changed New York; “Once Upon a Time in Harlem” (Oct. 16), a long-in-coming documentary chronicling a 1972 gathering of Harlem Renaissance luminaries; and “The History of Concrete” (Sept. 18), John Wilson's delightfully meandering documentary about concrete and creativity.

Malkovich Malkovich Malkovich. Get ready to be reminded of this fact: John Malkovich has never won an Oscar. The twice-nominated actor (for “Places in the Heart” and “In the Line of Fire”) may have his best shot yet with his performance in Martin McDonagh's “Wild Horse Nine.” In it, he stars alongside Sam Rockwell as an aging CIA agent who's grown tired of keeping secrets on a trip to Easter Island in the early 1970s. Like Malkovich's best roles, his performance is full of wit, soulfulness and profanity.

The ‘Obsession’ sensation isn't over yet. Curry Barker's “One Wish Willow” horror movie has already set plenty of records, including being one of the most profitable movies ever made.

But Focus Features is also preparing an awards campaign for the low-budget hit that could have “Obsession” competing in many of the top Oscar categories, including best picture and best actress for Inde Navarrette. It won't be the only early 2026 release to factor in the mix, though. Expect to hear more from Christopher Miller and Phil Lord's “Project Hail Mary” and Olivia Wilde's “The Invite,” among others.

At the Oscars, international film is here to stay. As in recent years, many of the top Academy Awards contenders are sure to hail from overseas. The makeup of the academy has grown more international in recent years, and global nominees have increasingly reflected that. Some of this year's standouts include:

— “All of a Sudden” (Nov. 25), an expansively tender Paris-set drama from Japanese filmmaker Ryusuke Hamaguchi (“Drive My Car”)
— “Fjord” (Oct. 9), Cristian Mungiu's Palme d'Or-winning Norway-set drama about political polarization
— “La Bola Negra” (Oct. 16), an epic that spans the interconnected lives of three gay men in Spain
— “Minotaur” (Nov. 20), Russian filmmaker Andrey Zvyagintsev's drama about betrayal and murder in Putin's Russia
— “Possible Love” (Oct. 23), Lee Chang-dong's awaited follow-up to 2018's acclaimed “Burning,” about two couples making a documentary
— “Fatherland” (Oct. 23), Paweł Pawlikowski's exquisite black-and-white drama about postwar Germany
— “Clarissa” (Dec. 11), Arie and Chuko Esiri‘s shimmering Nigeria-set reinterpretation of Virginia Woolf’s “Mrs. Dalloway”