September 5, director Tim Fehlbaum’s gripping newsroom thriller about the 1972 Munich Olympics terrorist attack, doesn’t just evoke the look of the '70s; its grainly look and gritty dialogue-driven script feels like it was plucked straight from the era’s cinematic vault (All the President’s Men The China Syndrome).
The film takes viewers inside a TV control room in 1972, where ABC Sports broadcasters face an unprecedented crisis: gunmen from the Palestinian militant group Black September have infiltrated the Olympic village, killed two members of the Israeli athletic team, and taken nine others hostage. The movie dives into the moment live television transformed into something more than just news—it became entertainment too.
The ABC Sports team is overseen by network executive Roone Arledge (Peter Sarsgaard), who declares that rather than give the story to the news division and let it be reported remotely. But it’s John Magaro’s portrayal of producer Geoffrey Mason that steals the show as Manson’s every move is tinged with the moral weight of broadcasting tragedy in real-time.
It’s also a fascinating “process movie” as Fehlbaum leans heavily into the logistics of getting the crisis on the air, including fabricating new logos with photos and art supplies and then shooting them with a video camera, and very quickly developing 16mm film of events to be shown on live TV (this is where the phrase “Film at 11” comes from). Simply put, September 5 is a meditation on the birth of modern media.
Even if you’re familiar with the tragic outcome of the Munich attacks, September 5 keeps you on edge. It’s the feel bad thriller of the year.
In a nutshell: A morally complex newsroom drama that lingers long after the credits roll.
Where to see it: In theaters, starting January 17, 2025. Sneak previews begin January 10 in Dallas with a recorded Q&A.
Would it be better with Olivia Colman? Everything is. The one female part, however, is played brilliantly by Leonie Benesch, a female and German translator who brings poignant humanity to the film in some small but key scenes.
Award potential: It’s a very quiet film in late release with understated performances and isn’t heavily promoted but despite all that, it's likely to end up with a few top nominations such as the big one, Best Picture.
The Ten Buck Review: Worth ten bucks.
The Ten Buck Review: Worth ten bucks.
