September 5 Review: Munich Massacre News Drama is a Worthy Oscar Contender

   November 24, 2024

September 5 is a gripping and thoughtfully constructed film that succeeds in bringing an authentic and engrossing drama to life. It manages to walk the fine line between suspense and introspection, solidifying its place as a standout entry in the journalistic drama genre. The movie is bolstered by a strong ensemble cast that includes John Magaro, Ben Chaplin, Peter Sarsgaard, and Leonie Benesch.

September 5 (2024), directed by Tim Fehlbaum
September 5 (2024), directed by Tim Fehlbaum

September 5 Review

The legacy of investigative journalism films like All the President’s Men and Spotlight remains a pillar for filmmakers looking to capture the painstaking process of uncovering hard truths. These films thrive on their ability to convey the grit, tenacity, and moral dilemmas faced by journalists while telling stories of profound societal significance. However, each new attempt within the genre inevitably faces the challenge of measuring up to these touchstones.

In recent years, efforts like She Said have entered the field, though few have achieved lasting critical acclaim or significant awards traction. Interestingly, it seems that the genre excels when it embraces a deliberate, almost procedural mundanity—eschewing overt stylization in favor of a raw, restrained depiction of the journalistic process. It’s this careful attention to detail and atmosphere that often elevates the best entries into modern classics.

This year, September 5, directed by Tim Fehlbaum, steps into this storied subgenre. While Fehlbaum has previously explored themes of societal breakdown in films like The Colony, September 5 marks a departure, aiming for a grounded, journalistic narrative.

September 5 shifts the framework of the classic journalistic drama to a high-stakes broadcast newsroom during one of the most harrowing events in modern sports and political history: the Munich massacre of 1972. The film focuses on the ABC sports team tasked with covering the hostage situation as it unfolds in real-time during the Summer Olympics in Germany. While not a traditional investigative journalism movie, it explores many of the same ethical and procedural dilemmas, particularly the balance between breaking news and responsible reporting.

The film’s central tension lies in its depiction of journalists navigating the chaos of live reporting on an unprecedented international crisis. It probes the fine line between the pursuit of truth and the dangers of speculation, highlighting the pressures of delivering critical, accurate information under immense public scrutiny. Fehlbaum immerses viewers in the feverish atmosphere of the newsroom, where decisions must be made in seconds, with potentially devastating consequences.

By anchoring its narrative in real events, September 5 carries an inherent gravity, drawing comparisons to films like The Post and Network in its focus on the ethical quandaries of modern media. It also serves as a poignant reminder of the responsibilities borne by broadcasters during moments of global trauma, where journalistic integrity and public safety collide.

Peter Sarsgaard in September 5 (2024)
Peter Sarsgaard in September 5 (2024)

As with Spotlight and She Said, September 5 is built on its procedural bones, emphasizing the intricacies of its newsroom drama over bombastic action. The film’s success lies in the tension it derives from its meticulous script, which crafts a high-stakes narrative driven by dialogue, decision-making, and the race against time. Every scene hums with urgency, creating a palpable sense of suspense as the ABC sports team grapples with a rapidly evolving crisis.

The performances, from both lead and supporting cast, anchor the story and provide emotional weight to the procedural structure. This is complemented by the film’s editing, which masterfully conveys the relentless pace of live news production. The sharp cuts and overlapping dialogue build an immersive atmosphere, making the viewer feel as though they’re part of the chaos unfolding in real time.

Markus Förderer’s cinematography is a standout element, elevating the visual language of the film. His use of sharp closeups captures the intensity and claustrophobia of the newsroom, while the moody, dark color palette mirrors the gravity of the events being covered. Förderer’s work on September 5 represents a significant leap forward, showcasing a much more restrained and thematically aligned visual style compared to his previous high-budget, action-focused projects like Independence Day: Resurgence or Red Notice. Here, his cinematography enhances the storytelling, embodying the weight and tension of the Munich massacre while reinforcing the emotional and ethical stakes of the film.

The performances in September 5 are undeniably a key strength, with the cast delivering grounded and nuanced portrayals that elevate the film’s intensity. Leading the charge is John Magaro as Geoff, the producer whose decisions carry enormous weight as the crisis unfolds. Magaro’s understated performance perfectly captures the quiet authority of someone accustomed to making high-stakes calls under pressure. His naturalistic delivery fits the tone of September 5 beautifully, reinforcing the grounded, procedural atmosphere. Magaro continues to thrive in roles that demand subtlety and emotional resonance, building on his excellent work in films like Showing Up, Past Lives, and First Cow.

Ben Chaplin also stands out as a nightly news producer, embodying the calm yet commanding presence of a seasoned behind-the-scenes coordinator. His gravitas and authenticity make his performance feel like a genuine extension of the newsroom environment. Chaplin’s experience in films like The Thin Red Line and The New World shines through here, as he skillfully balances professionalism with the mounting tension of the unfolding events.

Peter Sarsgaard (The Lost Daughter, The Batman, Memory) brings his trademark depth to Roone Arledge, the renowned television executive, adding another layer of gravitas to the ensemble. His scenes carry a sense of authority and urgency, underscoring the high stakes and ethical dilemmas at play. Leonie Benesch (The Teachers’ Lounge) is equally compelling as Marianne, the German translator. Her poised yet emotionally resonant performance bridges the cultural and linguistic gaps of the story, grounding the film in the reality of its setting.

The supporting cast also excels, creating a believable and dynamic newsroom ensemble. Each character feels essential, contributing to the tense, claustrophobic energy of the production room. The actors’ ability to fill the space and bring life to their roles ensures that September 5 maintains its relentless pace and emotional impact throughout.

The lean narrative of September 5 works in its favor, even if it doesn’t achieve the refined precision of its genre’s best entries. The film’s script shines when it zooms in on Germany’s involvement in the hostage negotiations, emphasizing the nation’s precarious position on the world stage. Set against the backdrop of Germany’s efforts to rehabilitate its international image following World War II, the story captures the country’s desperation to present itself as a trustworthy and capable global player under new leadership. However, their mishandled attempts to resolve the crisis only deepen the sense of international skepticism and internal shame.

This aspect of the film allows for one of its most poignant character dynamics: Marianne, the German translator portrayed by Leonie Benesch, becomes a vessel for exploring the country’s collective embarrassment and guilt. Marianne’s discomfort and frustration with the unfolding events reflect a deeply personal connection to the larger political failures. Her quiet anguish provides an emotional center to the procedural tension, as she struggles to reconcile her national identity with the glaring inadequacies on display.

September 5 falters slightly in its third act, where it attempts a narrative twist surrounding the fate of the hostages. The sequence is clearly intended to underline the dangers of reporting speculative or unverified information, but the execution feels more like a plot device than an organic culmination of the film’s themes. This pivot risks pulling the audience out of the story, as it becomes apparent that the film is manipulating its narrative for dramatic effect. While the intent behind this choice is clear, the result feels less like a natural extension of the film’s tension and more like a moment of over-calculated storytelling.

That said, September 5 remains a well-crafted and compelling procedural overall. Its drama feels earned, bolstered by a strong ensemble cast led by John Magaro, whose understated performance anchors the film with authenticity and conviction. The supporting actors, including Ben Chaplin, Peter Sarsgaard, and Leonie Benesch, all deliver performances that deepen the film’s emotional and thematic stakes.

While not without its flaws, September 5 is a gripping and thoughtfully constructed film that succeeds in bringing an authentic and engrossing drama to life. It manages to walk the fine line between suspense and introspection, solidifying its place as a standout entry in the journalistic drama genre.

Score: 7/10

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