September 5

Gripping and intense

Wow .. I had no idea about this incident... It's huge, I wonder how it would have been felt at that time when it was live broadcast'ed.

It's not a movie for those who demand action every minute of every movie/ drama.

I loved it. I found it absorbing, emotional and sad, even though I know the outcome.
Acting is great, good moody soundtrack.
The violence is always there, you just don't see it.. It's a really good idea to tell a well known story from the people who were there.

John Magaro puts on a phenomenal performance in a very strong film.

'September 5' is based upon a true story, one that I had somehow not really known about - despite being into sports, albeit not a big Olympics guy. The event in question did ring tiny bells in my head pre-watch, but oddly not as much as other Olympic events would have.

As such, I didn't actually know how this story was going to play out. That was actually very beneficial, as I was moving up and down with all the dramatic and disturbing developments. This film portrays its plot tremendously, they set the perfect vibe and pace throughout.

The acting is also of good quality. John Magaro is the one who impressed me most, though Peter Sarsgaard, Ben Chaplin and Leonie Benesch are also excellent. It's fascinating to see it all from the media's perspective, especially in terms how they broadcast; e.g. the onscreen graphics.

“September 5” is a behind-the-scenes thriller that throws us right into the eye of the storm during one of the darkest moments in Olympic history, exploring the impact of the 1972 Munich crisis through the lens of TV coverage. Directed by Tim Felhbaum, the film does a great job of capturing the urgency and claustrophobic tension of a newsroom trying to process a tragedy in real time. But at the same time, it sticks too closely to the journalistic narrative, steering clear of deeper dives into the historical and political implications of the event. The goal here is clear: to put the audience inside the ABC Sports control room and let them feel the weight of the decisions that would shape not just that fateful night’s coverage but also the future of live media itself.

The script, written by Felhbaum and Moritz Bender, takes a sharply focused approach, following Geoffrey Mason (John Magaro), a producer forced to juggle the ethical and commercial demands of the coverage while dealing with pressure from his bosses and the unpredictable nature of the situation. Magaro delivers a nuanced performance, perfectly conveying the mental exhaustion and paralyzing fear of making the wrong call, making his character the moral anchor of the story. His clashes with Marianne Gebhardt (Leonie Benesch), a German translator suddenly thrown into the heart of the crisis, and Marvin Bader (Ben Chaplin), a tech operator with personal ties to the tragedy, add an extra emotional layer that keeps the drama grounded and engaging. The chemistry between the trio is one of the film’s biggest strengths, helping to humanize a plot that could sometimes feel overly technical.

Felhbaum’s direction takes a minimalist approach, using handheld cameras and a grainy visual style that mimics the look of 1970s TV broadcasts. This stylistic choice works well to heighten the sense of urgency and pull the audience into the chaotic atmosphere. The sound design plays a crucial role, with overlapping dialogue, radio chatter, and TV monitors buzzing in the background, creating an almost documentary-like immersion that highlights the cacophony of voices and information flooding the control room. The sense of disorientation is intentional and effective, making us feel the same confusion as those trying to make sense of what was happening on the other side of the screen.

However, the film stumbles when it comes to addressing the political and historical complexities of the crisis. The Israeli-Palestinian conflict is only briefly touched upon, and the film seems more interested in tackling the ethical dilemmas of TV journalism than delving into the deeper roots and consequences of the attack. This choice might disappoint viewers hoping for a more in-depth exploration of the event as a whole. Peter Jennings’ character, played with understated charm, ends up feeling underutilized, pushed to the sidelines, which weakens the film’s attempts to offer a broader perspective on what happened. It’s understandable that the focus was meant to stay on the internal dynamics of the newsroom, but the lack of deeper context makes the film feel a bit one-sided.

Still, “September 5” stands out in the way it captures the birth of modern media coverage as spectacle. The use of the iconic image of the masked terrorist as a symbol of the tragedy—and its transformation into an almost branding element for the broadcast—is one of the film’s most powerful moments. It subtly hints at the consequences of blending information with entertainment. The movie suggests, without being too on-the-nose, that the Munich crisis marked a turning point in how tragedies began to be televised and consumed, something that still resonates today in the era of social media and 24-hour news cycles.

“September 5” is an effective film within its intended scope—a tense and well-crafted thriller about the inner workings of historic news coverage. It shines in its technical details, strong performances, and meticulous recreation of a moment of crisis, but it falls short by avoiding a deeper exploration of the event’s complexities. For those looking for a character-driven study of people under pressure and an almost sensory dive into the chaos of a newsroom, the film delivers an engaging experience. But for those expecting a broader, more critical take on the tragedy’s ripple effects, it might leave them feeling like something is missing.

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.

I am always skeptical of true story adaptations, but was even more so with this film, as the opening of _Munich (2005)_ already brought this tragic story to the big screen. I was happy to find that my skepticism was misplaced, as the television broadcasting angle provides a compelling and unique perspective. I'm also a sucker for the depiction of the 1972 broadcasting studio, which I understand the filmmakers wanted to be as historically accurate as possible. I've always enjoyed depictions of technical proficiency, and that's definitely one of the key ingredients to this film. Combine that with strong writing and performances, and you get one of my favorite films of 2024.

A taught 91 minutes single-room captivating thriller on multiple levels.A powerful told riveting story.

Captivating, from start to finish.If you appreciate good movies then this is a must watch.

As someone born in the early 80s, it still amazing to see what effort had to be taken to broadcast something like this in the early 70s. Everything required moving parts, several lines of communication all at once and perfect coordination. This film shows that in great detail. Wonderfully executed and suspenseful.