Hidden by dancers in giant fan-like tapestry, Swift emerges mid-stage in a sparkly pink and blue bodysuit, singing the chorus to "Miss Americana & the Heartbreak Prince", followed by "Cruel Summer".

Swift dons an orange gown and a dark green cape and performs "Willow" with dancers holding glowing orbs, followed by "Marjorie", and then "Champagne Problems" at a moss-covered piano.

Accompanied by dancers, Swift performs "22" in a black hat and white T-shirt with the phrase "a lot going on at the moment", modified from the shirt from the song's music video.

[c] In the final act, Midnights, dancers carry out cloud decorations as Swift reappears in a purple faux fur coat to sing "Lavender Haze".

[27] In the U.S., AMC Theatres served as both distributor and exhibitor of The Eras Tour,[28] an unprecedented move in the American film industry,[29] and screened it at least four times per day from Thursday through Sunday during each week of its run.

[29] Puck journalist Matthew Belloni reported that "disappointing" talks with the major film studios had led Swift to instead negotiate a distribution deal directly with Aron.

[43] The Hollywood Reporter wrote in late October 2023 that "practically every major service" was looking to secure subscription video on demand (SVOD) rights to The Eras Tour following its theatrical run.

[17] It also highlighted that limiting screenings to Thursdays, Fridays, Saturdays, and Sundays would make the film feel like an event as audiences "will be able to watch the concert extravaganza with a packed crowd and not in half-empty theaters during a Monday matinee".

[6][58] On December 13, 2023, her 34th birthday, Swift released an extended version of the film in collaboration with Universal Pictures Home Entertainment, featuring performances of "Wildest Dreams", "The Archer" and "Long Live".

[64] On August 10, 2024, the Disney+ edit of the film was aired for free on the Austrian public television channel ORF 1, after the cancellation of the Eras Tour's three Vienna concerts due to a terrorist plot.

[70] The Daily Telegraph praised Swift as "the greatest tactician in showbusiness," writing, "Barbenheimer showed people will go to the cinema if they feel they are participating in a communal experience.

"[41] Analyses from Collider and TheWrap concluded that by successfully negotiating her deal and proving its profitability, Swift incentivized theaters to find programming without the help of the studios, "potentially changing the dynamics of cinema distribution.

[6] Ray Nutt, CEO of live entertainment content provider Fathom Events, opined that a "post-Eras concert film boom" is imminent, with studios "reaching out in earnest, looking for partnership" and artists "already making calls and taking cues from Swift's Eras deal.

[28] Paramount Pictures and Apple Studios also abandoned plans for a two-week limited run of the western crime drama film Killers of the Flower Moon, directed by Martin Scorsese, preceding its wide release on October 20.

"[88] Billboard opined, "While such concert docs have historically been fan-only fare, with limited box-office ceilings, news of The Eras Tour was greeted as if it was the new Marvel blockbuster".

[55] The New York Times expressed uncertainty regarding the film's box-office forecasts, claiming they are based on moviegoer surveys and marketing, and hence the ticket sales could either sustain or decline after the opening weekend.

[98] Fandango reported that The Eras Tour had set a platform record for the highest first-day ticket sales in 2023, comparable to No Way Home, Avengers: Endgame (2019), and Star Wars: The Force Awakens (2015).

The website's consensus reads: "Taylor Swift: The Eras Tour delivers exactly what it promises: A smoothly directed, impeccably performed documentary capturing the concert event of the year.

[131] Reviews from Angie Han of The Hollywood Reporter,[20] Ann Hornaday of The Washington Post,[132] Ludovic Hunter-Tilney of Financial Times,[133] Rob Sheffield of Rolling Stone,[134] and Bilal Qureshi of NPR called the film an impressive and immersive work.

[136][137] Katie Campione of Deadline Hollywood emphasized the visuals, energy, and vibrance,[138] while Tim Grierson of Screen International felt it was a both rousing and intimate view of Swift's musical dexterity.

Club liked how the concert is concise in the film to allow a seamless "flow" between songs and appreciated the "expertly mixed" sound—the crowd noise diminished to focus on Swift's "energetic" vocals.

[144] Similarly, Time's Stephanie Zacharek disliked some of Wrench's "reckless" camerawork choices, but felt Swift's stage presence "instantaneously airbrushes every questionable filmmaking decision into oblivion.

[146] Mike Shutt from /Film thought that most of the film lacked meticulous shot compositions, and felt that Wrench relied on multi-camera footage and an expedited editing process.

[147] Richard Brody of The New Yorker said the film increased his understanding of Swift's artistry but felt that the short and monotonous camera shots made the watching experience "wearying".

[148] Conversely, Alejandra Martinez of The Austin Chronicle said the shots offer a "great sense of scope", capturing the show's scale and emotion while "ramping up the excitement with every frame.

[150] Melissa Ruggieri wrote in USA Today that the film "offers a front-row seat to the grandeur", complimenting the camerawork for capturing the tour's detailed production and Swift's charisma.

[11] In congruence, Uproxx's Philip Cosores and Variety's Chris Willman said the film prolifically emphasizes the performance and production details that "get easily obscured by the overwhelming nature of live music" from a concertgoer standpoint.

[154] The Wall Street Journal, CNBC and The Guardian reported that multiple cinemas were altering rules around audience behavior for The Eras Tour such as suspending evening age restrictions and allowing phone use, singing and dancing.

Indian Swifties on social argued that "if it was acceptable for fans to stand outside Shah Rukh Khan's house to watch him wave at them for a few minutes, they should not be criticised for enjoying the theatre experience they paid for."

In Beijing, people "scoured Imax theaters to secure commemorative popcorn cups and drinkware printed with Swift's face" ahead of the theatrical release.