Durante los Juegos Olímpicos de Múnich de 1972, un equipo de periodistas deportivos estadounidenses se ve obligado a cubrir la crisis de los rehenes entre los atletas israelíes.Durante los Juegos Olímpicos de Múnich de 1972, un equipo de periodistas deportivos estadounidenses se ve obligado a cubrir la crisis de los rehenes entre los atletas israelíes.Durante los Juegos Olímpicos de Múnich de 1972, un equipo de periodistas deportivos estadounidenses se ve obligado a cubrir la crisis de los rehenes entre los atletas israelíes.
- Dirección
- Guionistas
- Elenco
- Nominado a 1 premio Óscar
- 25 premios ganados y 28 nominaciones en total
- Dirección
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- Producción, taquilla y más en IMDbPro
Resumen
Opiniones destacadas
For someone who didn't really know the story, the details of what went down truly interested me. They did a solid job of not telegraphing the plot points.
Some may find the lack of change of scenery tiring, but I think it worked in this case. I think they wanted you to feel like the control room is your world, and to feel as they did on this eventful day.
They touched on the political and emotional elements nicely. Making you think, without preaching.
Mixing in footage from the actual event, including broadcast footage as well, definitely draws you more into the experience. A nice touch.
While it's not a movie I really intend on rewatching over and over, it is a very well done piece that I'd recommend to friends who enjoy movies like this.
The world watched in real-time as the crisis unfolded, and Black September achieved exactly what they wanted: maximum publicity. This was one of the first instances where a terrorist attack was staged with the global media in mind, creating a model that has since been replicated.
The media's role in amplifying terrorism is complex. On one hand, coverage is necessary to inform the public, expose security failures, and hold governments accountable. On the other, the relentless focus on the perpetrators can sometimes grant them the notoriety they seek. This has led to ongoing ethical debates about how journalists should report on terrorism without unintentionally promoting it.
By revisiting September 5, the film not only honors the victims but also forces viewers to confront the enduring complexities of terrorism, security failures, and international politics that remain relevant today.
The whole cast does a great job of saying all the news jargon with a high intensity but the main 3 stand out further. John Magaro rises to the challenge of covering something he never thought he'd have to whilst feeling the most guilty about what transpires, Peter Sarsgaard is commanding and clearly just as interested in personal gain as he is in documenting the events and Ben Chaplin is the most cautious yet still waves away some errors.
Tim Fehlbaum's direction mostly keeps everything contained in the studio to increase the chaos since all the information comes from outside and adds a layer of disconnection. Markus Förderer's tight and mobile cinematography is unwavering which is then combined with Hansjörg Weißbrich's meticulous editing to move at a high speed throughout and ensures the pacing is as airtight as humanly possible.
I liked the classic 1972 vibe, sigars, the know how, the first tv's and ict difficulties in that time. You also get a rewatch of the drama that took place in that olympic village. The 100minutes flew by and I never took my eyes of the screen.
If you like movies or real good documentaires, i strongly advice to watch this. Especially if your into world wide events. A 9 out of 10! Watch ln the big screen!!!!!!!!!...
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- TriviaAll of the live video footage of the siege and the studio presentation and interviews is the original footage as broadcast by ABC during the crisis, taken directly from their archive.
- ErroresThe crew are seen drinking from beer cans with retained ring pulls. This type of opening mechanism wasn't widely in use until the original patents expired in 1975, three years after the events depicted in the movie.
- Citas
Marianne Gebhardt: [translating] He's saying that the Games are an opportunity to welcome the world to a new Germany, to move on from the past.
Marvin Bader: Yeah, sure.
Marianne Gebhardt: I mean, it's what we all hope for. What else can we do but move on, try to be better?
Marvin Bader: [stops the video] Are your parents still around?
Marianne Gebhardt: Yes.
Marvin Bader: Let me guess- they didn't know either, right?
Marianne Gebhardt: [pause] Well, I'm not them.
Marvin Bader: No. No, you're not. I'm sorry.
- ConexionesFeatured in 82nd Golden Globe Awards (2025)
- Bandas sonorasFortunate Son
Performed by Creedence Clearwater Revival
Music and Lyrics by John Fogerty (as John Cameron Fogerty)
(c) Shanty Kelyn Music / Concord Copyrights
Courtesy of Concord Music GmBH, Berlin
(p) Craft Recordings, a division of Concord
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Detalles
- Fecha de lanzamiento
- Países de origen
- Sitio oficial
- Idiomas
- También se conoce como
- Septiembre 5
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Total en EE. UU. y Canadá
- USD 2,508,723
- Fin de semana de estreno en EE. UU. y Canadá
- USD 80,802
- 15 dic 2024
- Total a nivel mundial
- USD 8,237,910
- Tiempo de ejecución
- 1h 35min(95 min)
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.39 : 1