The music press (and large numbers of conventional media outlets) were awash with tales of their bad boy behaviour and outsized use of alcohol and nose candy. Their tours were shambolic to say the least, and it was a crap shoot to find the brothers playing on stage or just fighting. When the wheels well and truly fell off the wagon and the band broke up, it didn’t really surprise anyone. That they stayed apart for fifteen years did.

The eventual reconciliation, when it occurred, made for the perfect storm to film the proceedings and turn it into a feature-length film, and now we have Don’t Look Back in Anger in cinemas. The film’s structure starts with the band (minus their lead singer) in a very large rehearsal space working out the songs and set list. When Noel finally arrives, he presents an ominous and negative presence. By the time the new concert footage begins, a change becomes very apparent.

It is not surprising that someone finally put together a tour offer so lucrative that it was accepted, but the revelation that actually occurs is how much passion it created with the modern audience. The scenes of fans driven to tears are plentiful and not just from an English speaking audience. This adulation forms the backbone of the film. The interviews and voice over behind a lot of the scenes also highlight the cooling of animosities between the two brothers. This transition makes this work hopeful. I’ll end with this Gallagher quote that puts things in perspective. “If you’re going to be a c*nt be a funny c*nt.”
Rob Hudson
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Assembled from rediscovered, previously unseen and unheard 35mm footage of his 1988 performance at the Palais Omnisports de ParisBercy, this new film captures George at the height of his creative power during the record-breaking Faith Tour.

Expertly restored and remastered, the film transforms a defining cultural moment into a spectacular cinema experience. An original short film by Mary McCartney opens the feature, using newly discovered audio and imagery from 1986–1988 – the Faith era – creating a rare and intimate ‘time capsule’, offering a vivid insight into George’s mindset at this pivotal moment in his life.

George Michael: The Faith Tour will be released in Aussie cineams November 6!
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The documentary from Magna Studios and Sony Music Vision is created by the BAFTA and Oscar®-nominated writer, producer, and director Steven Knight (“Peaky Blinders,” “A Thousand Blows”) and directed by Dylan Southern and Will Lovelace (“Shut Up and Play the Hits,” “Meet Me in the Bathroom”).

“Oasis: Don’t Look Back In Anger” charts Liam and Noel Gallagher’s triumphant reunion tour, Oasis Live ‘25, one of the most anticipated rock ‘n’ roll comebacks of our time. The film is an unapologetically uplifting account of the biggest musical event of 2025, capturing the experience and emotions of the band and their fans across the world. The unique perspective includes rehearsal, backstage, and onstage access as well as the first joint interview with Noel and Liam in over 20 years. Alongside the band’s sold-out world tour, the film also explores the profound emotional impact of this phenomenal global cultural moment and what their music means to audiences and generations worldwide.

Featuring unprecedented access and never-before-seen footage, the film is a Magna Studios production, presented by Sony Music Vision in association with Sony Music Entertainment UK. The producers are Sam Bridger (“Lewis Capaldi: How I’m Feeling Now,” “Meet Me in the Bathroom”) and Guy Heeley (“Locke,” “Peaky Blinders: The Immortal Man”). The executive producers include Kate Shepherd, Marisa Clifford, Davud Karbassioun, Rob Stringer, Tom Mackay, Krista Wegener, Thomas Benski, Isabel Davis, and Tim O’Shea, with Oscar®-winning sound mixers James Mather (“Top Gun: Maverick,” “Belfast”) and Tarn Willers (“The Zone of Interest”), cinematographer Haris Zambarloukos (“Belfast,” “Beetlejuice Beetlejuice”), and editors George Cragg and Martina Zamolo leading the creative technical team.
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The documentary from Magna Studios and Sony Music Vision created by the BAFTA and Oscar®-nominated writer, producer, and director Steven Knight (“Peaky Blinders,” “A Thousand Blows”) and directed by Dylan Southern and Will Lovelace (“Shut Up and Play the Hits,” “Meet Me in the Bathroom”), will open in select IMAX® and cinemas across Australia and New Zealand in September, before streaming exclusively on Disney+ internationally later this year.

“Don’t Look Back In Anger” charts Liam and Noel Gallagher’s triumphant reunion tour, Oasis Live ‘25, one of the most anticipated rock ‘n’ roll comebacks of our time. The film is an unapologetically uplifting account of the biggest musical event of 2025, capturing the experience and emotions of the band and their fans across the world. The unique perspective includes rehearsal, backstage, and onstage access as well as the first joint interviews with Noel and Liam in over 20 years. Alongside the band’s sold-out world tour, the film also explores the profound emotional impact of this phenomenal global cultural moment and what their music means to audiences and generations worldwide.

Steven Knight says, “The Oasis world tour united generations, cultures and countries and spoke to a broken world about reconciliation. ‘Don’t Look Back In Anger’ is not only your ticket to the show – it’s a backstage pass and a seat at the table when Liam and Noel sit down together for the first time in 15 years and tell it how it is and how it was.”

Featuring unprecedented access and never-before-seen footage, the film is a Magna Studios production, presented by Sony Music Vision in association with Sony Music Entertainment UK. The producers are Sam Bridger (“Lewis Capaldi: How I’m Feeling Now,” “Meet Me in the Bathroom”) and Guy Heeley (“Peaky Blinders: The Immortal Man”). The executive producers include Kate Shepherd, Marisa Clifford, Davud Karbassioun, Tom Mackay, Krista Wegener, Isabel Davis, and Tim O’Shea, with Oscar®-winning sound mixers James Mather (“Top Gun: Maverick,” “Belfast”) and Tarn Willers (“The Zone of Interest”), cinematographer Haris Zambarloukos (“Belfast,” “Beetlejuice Beetlejuice”), and editors George Cragg and Martina Zamolo leading the creative technical team.
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EPiC: Elvis Presley in Concert will be released in Aussie cinemas February 19!
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Stray Kids: The dominATE Experience is an epic concert film that gives fans both a spectacular front-row seat and unique access to their favourite band.

Coming to cinemas February 5!
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EPiC: Elvis Presley in Concert – only in Cinemas February 19.
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Exercising one’s creativity in certain fields isn’t always easy. If photography is your jam, it’s even more difficult. Having an individual voice in that medium is especially challenging now that the world and its inhabitants possess over 8.58 billion mobile phones, and almost all of them have a camera built in. It can still be done; you just have to think outside the box.

That is a box that British photographer Martin Parr has stepped outside of all throughout his career. His early black & white work, finding the extraordinary in the ordinary in normal British life, is fantastic and more than a bit humorous. When he made the switch to colour photography in the early eighties, his work continued to show British life as even more colourful.

The story is told by the man himself, with fellow photographers and historians helping to put his work into context. The footage of him unassumingly wandering around in public with a camera and a walker shows how he gains access to the normal world. He’s not above forcing the issue, and one scene of him demanding a subject stop smiling is illustrative.

Even if your interest in photography is limited, it’s still a fascinating story. For those with an interest in the art form, there comes a wealth of useful observations and an insight into Parr’s methodology and approach. His storytelling is concise and vivid (and not above the occasional controversies), and this is all accomplished without a single word being needed.
Rob Hudson

From November 5, the 2025 Russell Hobbs British Film Festival, presented by Palace, will open in cities across the country screening at Palace Cinemas, Palace Nova and Luna Palace Cinemas. This year’s sensational lineup showcases British brilliance at its best with hotly anticipated new releases, documentaries and restrospectives.

I Am Martin Parr Screening Times
Palace Barracks Brisbane
Monday 10th November 2025
Wednesday 26th November 2025
Monday 1st December 2025

Palace James St Cinema
Thursday 13th November 2025
Friday 21st November 2025
Friday 28th November 2025
Thursday 4th December
www.britishfilmfestival.com.au

Can ancient medicines help us to reimagine our relationship to dying in a death-denying culture?

The doorway to death is the last great frontier in a human life. Intellectually, we all know our lives will end, and yet – in the Western world at least – we act as if death is a mirage, disappearing the closer we move towards it. Two doctors in Australia are using psilocybin to help ease the anguish of their patients at end-of-life, and the results they have seen are truly remarkable.

But this visioning tool, like other plant medicines, is not new, it comes from ancient traditions. When the doctors journey to the Amazon to experience traditional medicines for themselves they are confronted by realisations they have no explanation for. Is it possible the world’s oldest cultures have something important to teach us, not just about traditional medicines, but about death itself?

“This is not new knowledge; this is lost knowledge.”
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Shot over many months across both countries, BUT ALSO JOHN CLARKE captures Clarke’s biggest moments and lasting impact on generations of audiences, while offering rare glimpses into the man behind the satire.

The defining satirical voice of his era, John Clarke famously revealed little of his private world. Through an intimate series of recorded conversations with his daughter, writer, performer and director Lorin Clarke, audiences are invited into the personal life of the man whose humour shaped our national identity. These exchanges illuminate Clarke’s unwavering resistance to authority, his controversial decision to leave New Zealand for Australia in 1977, and his remarkable four decades in entertainment.

Forty-two of John’s friends, colleagues and collaborators – actors, comedians, journalists and international comedy greats such as Ben Elton, Sam Neill, Bryan Dawe, Andrew Denton, Ernie Dingo, Jana Wendt, Shaun Micallef, David Wenham, Wendy Harmer and many more – share memories, insights and laughter as they honour a singular cultural icon.

Weaving together anecdotes, rich television archives, treasures from more than 200 boxes of Clarke’s personal work and letters, and the voices of those who knew him best, BUT ALSO JOHN CLARKE is the definitive film on a cultural giant – offering audiences both the public legend and the private father.

This is the feature directorial debut of Lorin Clarke, best known as the creator and narrator of the award-winning ABC Radio National series The Fitzroy Diaries, and author of the memoir Would That Be Funny (Text Publishing, 2023). She has written and directed for theatre, children’s television (Bluey, Kangaroo Beach, Beep & Mort), and is a regular columnist for The Big Issue.

Produced by acclaimed filmmaker Richard Keddie, one of Australia’s most experienced biopic producers, BUT ALSO JOHN CLARKE continues his track record of shining a light on extraordinary Australian lives (Ride Like a Girl, Oddball, Hawke, Curtin, My Brother Jack).

Financed by Screen Australia, in association with the MIFF Premiere Fund, VicScreen, Soundfirm, and Rialto Distribution (who will distribute throughout ANZ), BUT ALSO JOHN CLARKE releases in cinemas nationally from September 4, 2025.
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