September 5 (2024, R)

I had a hard time with this one. From a technical standpoint, it’s a very effectively made film—almost a bottle story, contained within a single setting and filled with tension, even as the major action is happening to other characters in a different location. However, given the subject matter, it feels glaring in the things it takes for granted with the Israel-Palestine conflict, in both what it says and what it leaves unsaid.

What’s It About?

On September 5, 1972, the ABC Sports crew in Munich for the Summer Olympics is stunned by the unfolding story that a number of Israeli athletes and coaches has been taken hostage. They work quickly and with dedication to cover the story despite limited access and resources.

Who’s in It?

The only cast member I was aware of going into the film was Peter Sarsgaard as Roone, who’s the captain of this ship. But while Sarsgaard is effective in the role, I expected him to be more prominent than he is. Roone’s biggest contribution to the action is arguing with other divisions and networks to keep possession of the story and the satellite that allows them to broadcast back to the U.S. So the one calling a lot of the shots in the moment is actually the comparative rookie Geoff, played by John Magaro (Arthur from Past Lives.) I’d say Magaro is the film’s primary lead, and he’s backed up nicely by Ben Chaplin as the principled Marv and Leoni Benesch as Marianne, the only German on the crew—as the situation unfolds, her on-the-spot translation skills become vital.

What’s It Nominated For?

September 5 was nominated for one Oscar:

·        Best Original Screenplay

What Do I Love About It?

·        The movie makes choices that pull punches when it comes to its resonance with modern-day geopolitics, and that’s the main reason I was disappointed by it. And it’s frustrating to see them punt on these issues, because on a craft level, the film is very well made.

·        As I said, the film does a nice job of maintaining tension despite all the “action” happening offscreen. The crew are stuck on the outside of the story, kept back by police barriers and logistical challenges, but you can feel them on edge as they scrounge for information any way they can. Even without physically seeing the violence onscreen, you can feel everyone dreading the threat of it.

·        I like seeing the many creative fixes the crew comes up with to work around various obstacles and setbacks. They dress up one of their guys like an athlete so he can sneak into a restricted area and collect the spent film from the reporter and cameraman who are hiding close to the action. They hold phone receivers up to microphones so they can get someone’s eyewitness account on the air in lieu of better transmission capabilities. They monitor a police scanner, scour maps for the hostage takers’ possible exit routes, and rely on their commentator in the studio to help the viewers make sense of an ever-shifting story that changes on a dime.

Warnings

Strong thematic elements, references to violence, language, and drinking/smoking.