September 5

The attack at the 1972 Munich Olympics has been told in many ways, but September 5 takes a different perspective: that of the journalists who covered the crisis live. The film throws us into the ABC newsroom, where a team struggles to inform the world while the events unfold with unbearable tension.

The story feels real and intimate because it doesn't need to exaggerate the drama. There are no unnecessary reenactments or cheap emotional tricks. The pressure of the moment is conveyed through intense dialogues, uncertain glances, and the constant feeling that every decision inside that newsroom could change everything. It's a raw look at journalism when immediacy clashes with the responsibility of telling the truth.

The setting is excellent, and the pacing maintains the tension without forcing situations. While some parts may feel slightly stylized for cinematic impact, the film achieves its goal: making us feel the anguish of those who lived that day, not as mere witnesses, but as the ones responsible for informing the world.

As "September 5" (2024 release; 95 min) opens, we are watching an ABC promo on how it is broadcasting the 1972 Olympic Games "live and in color" from Munich, West Germany, a first in television history. We then go to the ABC studio right next to the Olympic village where they are just finishing coverage of the day at 4 am Munich time (10 pm New York time). Not long after, gunshots are heard... At this point we are 10 minutes into the movie.

Couple of comments: this is the latest from Swiss writer-director Tim Fehlbaum ("Tides"). Here he revisits the terrorist attack on the Israeli team at the 1972 Olympic Games, but strictly told from the perspective of the TV broadcasting team (ABC Sports). Multiple issues are raised, such as: should ABC Sports (on site in Munich) take the lead, or ABC News (in New York)? Should they air a potential killing of a hostage be aired live on tv? Etc. The movie plays out almost entirely from the ABC field studio in Munich and hence feels quite restricted (literally), creating even more tension. The cast is terrific, including Peter Sarsgaard as Roone Arledge (as head of ABC Sports). As you are watching this, it almost feels like all of it is happening in real time, but in fact it isn't (these events took place over almost 24 hrs. In real time). Last but not least, the film has a terrific original score, courtesy of Lorenz Dengel (who has collaborated with Tim Fehlbaum before).

"September 5" premiered at the Venice film festival last summer to immediate and broad critical support. The movie started airing in US theaters in December and is now streaming on Paramount+, where I watched it just last night. It picked up an Oscar nomination for Best Original Screenplay. It is currently rated 93% Certified Fresh on Rotten Tomatoes, which feels a little too generous to me. Regardless, if you want to revisit the horrible events of September 5, 1972 at the Munich Olympic Games, I'd readily suggest you check this out, and draw your own conclusion.

Performances all believable, comedy in the right places, and a pacing and runtime that doesn't leave you peeking towards the exit before the credits.

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.

Making a movie now about the 1972 Munich Olympic terrorist attacks might be considered something of a political hand-grenade since political opinion is clearly divided between those who side with Israel's continuing attacks on Gaza and those who are sympathetic to Palestine.

In "September 5" the 'villains' are clearly the Palestinian terrorists and the horrors of what is currently happening in the Middle East may put many people off seeing this film but then you could also say that "September 5" isn't so much about the hostage taking as it is about the reporting of the situation by ABC and this is definitely the best film about political journalism since "All the President's Men".

Director Tim Fehlbaum films it like a documentary and his remarkable cast respond beautifully. Every performance is pitch-perfect as is Markus Forderer's cinematography, Hansjorg WeiBbrich's editing and Fehlbaum's screenplay co-written with Moritz Binder and Alex David which doesn't feel like a script at all but a piece of actual news reportage and the thrills come not so much from hostage taking as from the dangers involved in simply recording it. The result is terrific cinema that simply shouldn't be missed.

September 5 is a gripping retelling of fact based events that doesn't let up on the tension from the moment it begins to really escalate. It offers an in depth look at the commitment of the newsroom broadcasting the events and all of their decisions with the sometimes destructive consequences of them as they choose the wrong wording and prioritise being the first to get the story out over getting it right, minus the consequences.

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.