Movie Review ~ September 5

The 1972 Summer Olympics in Munich, Germany were meant to symbolize unity and human achievement, but history had other plans. On September 5, 1972, the world witnessed a tragedy that forever changed the nature of live news coverage. With September 5, Swiss director Tim Fehlbaum captures the harrowing 16-hour ordeal through the eyes of the ABC Sports broadcasting team, creating a gripping narrative of historical significance, human drama, and ethical complexity. Showcasing stellar performances and meticulous craftsmanship, September 5 is a masterclass in tension and storytelling.  And it’s one of the best films of the year.

Geoffrey Mason (John Magaro, Overlord) was an ambitious young producer tasked with breaking new ground in live Olympic coverage under legendary executive Roone Arledge’s (Peter Sarsgaard, Blue Jasmine) guidance. Their team, including the no-nonsense head of operations Marvin Bader (Ben Chaplin, The Legend of Tarzan) and translator Marianne Gebhardt (Leonie Benesch), found themselves thrust into unprecedented chaos when Palestinian terrorists took members of the Israeli wrestling team hostage. As the crisis unfolds, the team grapples with technical challenges, moral dilemmas, and the emotional weight of broadcasting tragedy to millions of viewers around the globe.

Already turning in demonstrably great work in films like Past Lives and First Cow, Magaro delivers a career-defining performance as Geoff, embodying the pressure and urgency of making split-second decisions under unimaginable circumstances. His interplay with Sarsgaard’s gruff Roone adds the necessary conflict, capturing the tension between making responsible news and reporting news responsibly.  Sarsgaard, in turn, brings the required air of authority to Roone, portraying him as a capable leader whose drive is tempered by a deep sense of accountability.  He wants the story for his network, but does he want it for the right reason? 

I’d lost track of Chaplin after noting his early performances in rom-coms and ensemble dramas of the mid-90s, but he blazes back here, exuding authority in the face of uncertainty.  Already featured in a star-making turn in 2023’s German Oscar nominee for Best International Feature, The Teachers’ Lounge, Benesch provides a humanizing perspective as Marianne, bridging cultural divides with empathy and precision.  Perhaps it’s because his real-life counterpart is so familiar, but Benjamin Walker’s (Abraham Lincoln: Vampire Hunter) performance as Peter Jennings tends to come off as near-parody. 

Fehlbaum’s at times breathless direction of September 5 skillfully balances historical weight with the immediacy cinematic pacing can provide. The film’s decision to frame the narrative through the broadcasters’ perspective rather than focusing on the violence directly lends an unsettling sense of voyeurism to violence. Instead of sensationalizing the tragedy, Fehlbaum relies on the reactions of the ABC team—haunted expressions, hurried whispers, and the crushing silence of disbelief—to convey the gravity of the situation. This approach honors the victims and highlights the emotional toll of bearing witness to history.

The ingenuity at a technical level made the 1972 broadcast possible, and to a large extent, the technical elements of September 5 are similarly key to its success.  Julian R. Wagner’s production design meticulously recreates the bustling control rooms and gritty field setups of 1970s television, immersing the modern audience in the low-fi era. Costumes by Leonie Zykan and set details from Mitch Enzmann capture the texture of the time, while Markus Förderer’s (Red Notice) cinematography transitions seamlessly between the sterile confines of the broadcast studio and the chaotic Olympic village. Even the film’s lighting reflects its themes, with shadows inside and out deepening as the crisis intensifies.

While comparisons to Steven Spielberg’s much-loved Munich from 2005 are inevitable, September 5 separates itself by narrowing its focus to the unsung heroes behind the cameras. Where Munich provided a geopolitical overview and gave greater insight into how that fateful day came to be and the ripple effects after, Fehlbaum’s film does away with political maneuverings in favor of positing the ethics of live journalism.  How do you inform without exploiting?  Bear witness without sensationalizing?  It’s a compelling examination of the power and responsibility of telling the world’s stories in real-time.  The theme still hits home today in a climate when seemingly anything is fair game for the airwaves.

Though relentlessly paced, September 5 is not just a suspenseful historical drama; it’s a meditation on the human cost of witnessing tragedy. By focusing on the people who navigated uncharted ethical terrain to bring the world its first glimpse of live crisis reporting, the film offers a perspective that feels urgent and timeless. Fehlbaum’s direction, combined with exceptional performances and technical mastery gives September 5 a victory in historical storytelling—one that educates, captivates, and moves in prime time.