September 5 - La diretta che cambiò la storia

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.

September 5 is a gripping documentary, but many analysts believed that the 1972 Munich Olympics attack set a precedent for modern terrorism.

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.

A real thriller from start to end. A lot of suspension and a insight look what went on in the tv studio of abc. A lot of drama of a world wide known event what took place in Munchen.

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!!!!!!!!!...

I'll keep this review simple because this film deals with a tragic situation that I won't be able to do justice with words. It deserved a Best Picture nomination over "Emilia Pérez," that's for sure, and I don't think I'd mind it winning the Best Original Screenplay Oscar.

Going off that, Alex David, Moritz Binder, and Tim Fehlbaum's screenplay are excellent. It creates an intense atmosphere and compelling narrative against the backdrop of the 1972 Munich Olympics, even though the primary focus is on the ABC News team covering the story. Said atmosphere, which is also claustrophobic, almost rarely ceases to intrigue. While I don't think it's as strong as "Anora" or "The Substance," and its other competitors I either haven't seen ("The Brutalist") or don't think will win ("A Real Pain"), the screenplay stands as a remarkable accomplishment.

It helps that all the actors delivered strong performances as their respective characters. John Magaro, Peter Sarsgaard, and Lorine Benesch were especially memorable as Geoffrey Mason, Roone Arledge, and Marianne Gebhardt. I appreciate that the rest of the cast makes their characters equally believable. A film that mainly revolves around dialogue needs the talent to make it work, and I'm happy to say that's where this film succeeds.

Additionally, I was amazed at how the film portrayed the ABC News crew. Aside from a few members, the entire crew focused on covering the story first. I know that it's their job, but something just felt off. It seemed like their primary focus was to be the first to broadcast the events to further advance the station without thinking about the consequences of their actions.

For the last positive, Markus Förderer's cinematography is wildly stellar. Förderer's work contributes to the tense environment while making the film feel like it's one from when it takes place. The film looks like one shot on 35mm, and it's all the better because of it.

However, one thing stopping me from calling it one of 2024's (it was on limited release on December 13) best films is some stretches drag more than I thought. It never ceased to be vital, but I didn't entirely feel the suspense. I expected to be fully immersed and gripped by its story and the horrific events that happened during it, but I wasn't 100% invested. Don't get me wrong, it's still investing and doesn't ruin the film, but I wish I engaged more with the experience.

Overall, I enjoyed "September 5." Some pacing issues aside, it's a unique, mostly enthralling film that, if you're interested in seeing a different perspective on the events of September 5, 1972, it's definitely worth your time.

Technically, the acting, directing, cinematography, and Oscar-nominated screenplay make for an easy 10/10 technical score.

Now for the enjoyment score: despite some pacing issues, it was a great suspense film, making for a 10/10 enjoyment score. It may not be one of the best 10s for 2024 releases because of said stretches, but they're not enough to destroy the remaining eighty minutes of genius storytelling. Be sure to give it a watch!

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.