This morning, day four into the Venice Biennale, jazzed up on nocciola Greek yoghurt, I sat in the front row at the films premiere . If I could have been close enough to lick the screen without getting my press pass revoked, I would have. It was a thumping, joyful telling of one of the greatest bands in history, backed by an expectedly epic soundtrack. Two middle-class brothers whose breakup changed the world, and whose reunion tour has, in its own strange way, brought it back together again.

Opening with a montage of old clips from their humble beginnings, up to their infamous fallout in Paris in 2009 at Rock en Seine, the film then takes us into the present day: a rehearsal room (The Mill in Wimbledon) where Noel and the band await Liam’s arrival. Arrive he does, with full Liam swagger, calling shots and certainly not addressing the elephant in the room. As Knight said at their Venice press conference, “they’re British working-class men. So they’re not gonna high five, or hug or cry”, or get into a wild fight, as much of the audience might expect.

The film is a sincere celebration of nostalgia and rebirth, threaded with the very rock and roll colour they’re adored for. It’s a study of the brothers’ relationship, yes, but it leans further into what the band has meant to people around the world, and what their comeback tour brought to fans who had waited tirelessly in hope of relishing Oasis glory once again. The scenes travel to Brazil, Argentina, Korea, the UK and Japan, sharing stories of their fans: not “superfans,” Knight said, but people who had genuinely been changed by their music. As one person put it, some music will lift you up when you’re down, but Oasis falls down with you, and you get back up again together.