Peter Sarsgaard

John Magaro

Ben Chaplin

Leonie Benesch

Zinedine Soualem

Georgina Rich

Corey Johnson

Marcus Rutherford

Daniel Adeosun

Benjamin Walker

Ferdinand Dörfler

Solomon Mousley

Caroline Ebner

Daniel Betts

Leif Eduard Eisenberg

Sebastian Jehkul

Rony Herman

Jeff Book

Robert Porter Templeton

Stephen Fraser

Leon Dragoi

Doris Meier

Mark Ruppel

Christine Ulrich

Günther Wernhard

Antje Westermann

Harry Waterstone

Andreas Honold

Stefan Mittermaier

Miguel Abrantes Ostrowski

Kim Hanfland

David Iselin

Nikita Borisov

Karolina Gabinger

Robert Glade

Immanuel Rahman

Paul Böhme

Brendan Todd

Dirk Schepanek

Saeid Yazdani

Matthias Schum

Stiev Neubert

Rafael Peña

Tim Fehlbaum

Moritz Binder

Thomas Wöbke

John Wildermuth

Philipp Trauer

John Ira Palmer

Lorenz Dangel

Markus Förderer

Hansjörg Weissbrich

Rüdiger Böss

Constanze Guttmann

Martin Moszkowicz

Christoph Müller

Mark Nolting

Sean Penn

Christian Reitz

Simone Bär

Nancy Foy

Lucinda Syson

Alex David

Julian R. Wagner

Leonie Zykan

Frank Kruse

Anna-Malike Eigl

Jimmy Schaeffler

Ulrike Schürhoff

Tina Rexilius

Sophia Kretschko

Uwe Stanik

Peter Ackermann

Andreas Zuhr

Melanie Raab

Mitch Enzmann

Thomas Wimmer

Sarah Hesse

Till Zimmermann

Florian Froese-Peeck

Stefan Sosna

Uwe Greiner

Katja Jerabek

Uwe Zillner

Martin Jurado

Mareike Keller

Lutz Lemke

Lars Ginzel

Bob Iger

Paul Andexel

Max Locher

Marco Böhm

Gini Ganserich

Friederike Gast

Leif Heanzo

Alexander Wunsch

Benedikt Uebe

Markus Stemler

Johanna Rellinghaus

Tristan Radajewski

James Hyde

Mario Hubert

Marco Hanelt

Anton Dillinger

Matthias Backmann

Lisa Bauch

Michael Brink

Manuel Houben

Niko Junge

Javier Keltai

Jan-Philipp Koch

Vincent Meunier

Salvatore Miranda

Rolf Muetze

Kenny Rosset

Pia Röbke

Ilhan Soydemir

Dominik Trimborn

Gunnar von Voss

Pablo Gotzes

Oliver Schill

Alexandra Montag

Juliette Ménager

Steph Tataryn

Natasha Vincent

Florian Martin

Daniel McMahon

Andreas Menn

Jonathan Roth

David Maria Vogel

Johannes Weihs

Sebastian Wild

Jonathan Feurich

Felix Trawoeger

Magnus Maria Holzapfel

Tobias Madison

Thriller

Drama

History

September 5

BerghausWöbke Filmproduktion

Projected Picture Works

Constantin Film

Edgar Reitz Filmproduktion

Germany

United States of America

Brent Marchant

It’s invariably disappointing when a movie you’ve been looking forward to seeing doesn’t live up to expectations. But such is the case with the latest offering from writer-director Tim Fehlbaum. This re-creation of the day when Black September terrorists took members of the Israeli Olympic team hostage at the 1972 Munich Summer Games, sadly, misses the mark on many fronts. As told from the perspective of the ABC sportscasting crew covering the story, the film comes up short in conveying the sense of urgency and immediacy associated with this human tragedy, which was broadcast live around the globe and is said to have attracted more viewers than Neil Armstrong’s 1969 moon landing. While the picture is to be commended for its apparent authenticity and insights at capturing the events and mood inside the broadcast headquarters, much of the narrative nevertheless descends into a talky, overly technical take on what was transpiring around the TV crew, not a particularly effective way of depicting the nature of an event that shook the world and inevitably changed the way on which crisis situations are reported. While I certainly was not looking for sensationalist treatment here, I also wasn’t expecting to be bored by its clumsy, underwhelming chronicling of circumstances that had the globe on the edge of its seat. The depiction of this scenario, including the coverage of the particulars of that day, as well as examination of the myriad moral implications involved in their televised presentation, fail to captivate viewers on the same way as the events themselves did. I personally remember this fateful day quite well as one that became indelibly etched into the memory of an impressionable 15-year-old – and one that played a critical role in my eventual decision to pursue an education and career in journalism. Because of that, perhaps I expected too much from this release. Perhaps I had unrealistic hopes that an entertainment vehicle could live up to the compelling journalistic portrayal of an event such as this. Either way, though, that doesn’t make up for the disappointment associated with the telling of this story. In a world plagued by as many catastrophes as we experience these days, one could argue that we needn’t be reminded of those that are now behind us. But, if we choose to embrace the notion of “never forget” associated with such traumatic incidents, it behooves those behind such painful commemorations to make sure that their impact unmistakenly comes through, something that is definitely not the case with this offering.

<em>'September 5'</em> 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.

CinemaSerf

I worked in sports broadcasting for 30 years, including at the Olympics in Atlanta when a story of a similar nature to this one broke around the bombing in Centennial Park. Even though we’d moved on a few decades since this scenario, there are still similarities that ring true between this representation of what might have happened in the studio gallery of ABC and what happened in 1996. They are off the air and everyone is getting some rest after a long day when news begins to filter through that there have been gunshots. The programme producer Geoff Mason (John Magaro) summons help from his boss Marv (Ben Chaplin) and from his boss Roone (Peter Sarsgaard). With information limited and their access to an interpreter even more so, they recruit the services of the versatile Marianne (Leonie Benesch) and jury-rigging their comms, wheeling an half-ton camera out onto the concourse and fighting internal battles to avoid the all-powerful news division from muscling in on the operation, this team have to live on their nerves and instinct as they try to convey this breaking news to their population watching at home. It’s quite interesting that a quick flick around the channels available to them reveal they are the only people broadcasting so they press on doing what their journalistic instincts tell them to - and it has to be said, with great ingenuity as walkie-talkies and hard-wired kit were all that was available and official sources were obviously not obsessed with keeping the media briefed as it transpired that “Black September” had killed one and taken another eleven Israelis hostage. Tim Fehlbaum does well to keep the pace taut here as the day’s events unfold, and to give us an illustration of just how tough it was to verify sources whilst trying to stay one step ahead of the competition from people who might not have had the boots on the ground, but who did have ownership of the satellite. One of the reasons that they were the only live broadcaster was that the principal European broadcasters (RAI, France Televisions and the BBC) had already discussed the dangers of the terrorists actually watching the closed-circuit feeds available throughout the Olympic village, and so their sports teams were not broadcasting anything useful. Sadly, that isn’t something that dawns on these guys as the penny begins to drop that they are essentially providing the captors with some external coverage of the authority’s activities in/around the building. Unfortunately, for me, the sort of biggest, best, first, hyperbole that now follows rather undermined what could have been a really quite compelling look at how live television has to react in fluid situations like this. The dialogue starts to become peppered with disparaging remarks about their hosts’ competencies and a certain unpleasant arrogance starts to emanate from this team. Technically, they resort to the radio, in German, rather than co-ordinate with others on site and when the cops finally show up to, admittedly rather heavy-handedly, tell them to get off the air - the emphasis seems to be more about the police with guns invading the control room rather than the irresponsible producers with weapons way more powerful (and useful to to their antagonists) cocking it up. The denouement is also a testament to just how crucial it is to take your time and get your facts straight.  - and sometimes even the most plausible sources aren’t reliable. In the end, there may be no winners. The anachronism of all of this happening whilst there’s some sport going on elsewhere isn’t wasted here, nor is the inventiveness of those from a professional sport background who put something to air for which none of them had been trained. The world was, indeed, watching though most of the 900 millions were not watching ABC Sports outside of the USA - just a few in Munich whom we all wish weren’t.

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עִבְרִית

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Interview with Actor John Magaro

Can We Broadcast a Hostage Situation? - Extended Clip

Scene at The Academy (Feat. Tim Fehlbaum & More)

Crafts Featurette

Ensemble Featurette

Directing Featurette

'September 5' With John Magaro, Tim Fehlbaum, and More | Academy Conversations

"Whose Story Is That" Clip

Tim Fehlbaum On The Media's Role In The 1972 Munich Massacre | TIFF 2024

"Live On Air" Featurette

Official Trailer

"This Is Our Story" Clip

SEPTEMBER 5 Conversation at AFI FEST presented by Canva

Peter Sarsgaard on How to Build Understanding in Violent Times | September 5 Q&A