Imagine a world where the most electrifying moments of Elvis Presley’s career were locked away, unseen for decades. Now, picture those moments coming to life in a way that feels like you’re witnessing the King of Rock ‘n’ Roll at his absolute peak—right in front of you. But here’s where it gets controversial: Is this long-lost footage a treasure trove for fans, or does it raise questions about how we remember icons like Elvis? Let’s dive in.
On February 20, 2026, director Baz Luhrmann’s EPiC: Elvis Presley in Concert hits IMAX screens, offering a jaw-dropping cinematic experience that arrives in theaters everywhere on February 27. This isn’t just another documentary—it’s a time capsule. The film resurrects footage buried in a Kansas salt mine for 50 years, focusing on Elvis’s groundbreaking Las Vegas residency at the International Hotel. And this is the part most people miss: The movie is narrated by Elvis himself, through a newly discovered interview where he candidly shares his life story.
This is the Elvis we’ve forgotten—the one with chiseled cheekbones, karate-chopping his way through hits like Suspicious Minds and Burning Love. The Elvis who charms a sea of weeping, adoring fans with every swoon-worthy move. The Elvis in the white polyester jumpsuit—a size too big, yes, but worn with undeniable swagger. As Luhrmann puts it, “The Halloween costume is the Elvis many years later. But the Elvis of 1970 in this film? He’s at the absolute pinnacle, flying so close to the sun. He’s almost inhuman on stage, and yet so human.”
This Elvis is the epitome of cool—confident, in control, and utterly magnetic. He rehearses in a flower-power shirt, wiping sweat with a hot-pink towel, directing his band with infectious energy. On stage, he effortlessly catches a navy blue bra thrown by a fan, drapes it over his head, and keeps the show rolling with a bemused smile. It’s hard to believe this footage was nearly lost to time, buried in a salt mine alongside 65 dusty, misnamed boxes. Luhrmann compares the discovery to Raiders of the Lost Ark, complete with missing sound, black-market negotiations, and the painstaking work of lip-syncing audio to the visuals.
Teaming up with film editor Jonathan Redmond, Luhrmann restored the footage to IMAX quality with the help of Peter Jackson’s Park Road Post Production team. The real magic, though, came from a 45-minute audio recording of Elvis reflecting on his life. Luhrmann’s vision? “What if the only person in this film is Elvis, who comes to you in a dream and tells you his story from his point of view?”
The result is a raw, unfiltered look at the man behind the myth. Elvis speaks with surprising candor about his disappointment in Hollywood, lamenting, “Hollywood’s image of me was wrong, and I knew it. And I couldn’t say anything about it.” Clips of him being hounded by a man in a cheesy dog costume underscore his frustration. Despite being the highest-paid actor in Hollywood post-Army, Elvis felt disrespected, his creativity undervalued. “He had a river of money, he was so good-looking, whatever he wanted—except the thing that really counted: respect for his creativity,” Luhrmann notes. The 1968 Comeback Special and his Vegas residency were his attempts to reclaim that respect.
The film’s fast-paced music sequences will leave fans breathless. Signature Vegas songs like Polk Salad Annie and Never Been to Spain shine, alongside a thrilling mashup of Little Sister and The Beatles’ Get Back. Even tracks like You’ve Lost That Lovin’ Feelin’, which teetered on overwrought in live recordings, are dazzling in this setting.
But here’s the debate: While the film celebrates Elvis’s genius, it glosses over darker aspects of his life. His marriage to Priscilla Presley is barely mentioned, save for a performance of Always On My Mind. Colonel Tom Parker, his manager, is subtly paired with (You’re the) Devil in Disguise. Presley’s prescription drug abuse? Unaddressed. Yet, the film doesn’t entirely shy away from his decline. Luhrmann notes, “You see a little bit of withering in the later Vegas footage.” Elvis, initially planning to tour globally, found himself trapped in Vegas, performing show after show. “It’s like a bird smashing against a glass window,” Luhrmann says. “Without a challenge, without being able to use his wings, it turns in on itself.”
Priscilla Presley will see the documentary for the first time next week, and Luhrmann has arranged private screenings for Riley Keough and twins Finley and Harper Lockwood, daughters of the late Lisa Marie Presley. Fresh footage of baby Lisa Marie crawling at Graceland and Elvis boarding his private plane adds a tender touch.
Could there be more Elvis movies in Luhrmann’s future? He’s open to it, if the reception warrants it. Already, audiences are reacting as if they’re at a live concert—screaming, clapping, dancing. Even Elvis skeptics are leaving theaters asking, “Who is this guy? I had no idea.”
Now, the question for you: Does this documentary do justice to Elvis’s legacy, or does it romanticize a man whose struggles were as real as his talent? Let’s hear your thoughts in the comments!
