September 5

The journalism thriller is irresistibly gripping

Journalistic thrillers capture the insatiable curiosity and inherent dangers of pursuing the truth. The subgenre has produced some of cinema’s greatest works, including Ace in the Hole (1951), All the President’s Men (1976), and The Insider (1999). However, such films have become increasingly rare on studio slates, mirroring the broader decline of journalism’s public standing. The few journalism films released today often serve as cri de coeurs—urgent reminders of the fourth estate’s invaluable role in modern society.

September 5 (2024) tells the true story of the hostage crisis at the 1972 Munich Olympics, when Israeli athletes were taken hostage by Palestinian terrorists on the eponymous day. The film unfolds from the perspective of ABC’s sports broadcasting team, following broadcast director Geoffrey Mason (John Magaro), lead producer Roone Arledge (Peter Sarsgaard), chief operator Marvin Bader (Ben Chaplin), and translator Marianne Gebhardt (Leonie Benesch) as they navigate unprecedented ethical dilemmas: Can you air footage of someone being shot live on television? If your coverage compromises police intervention, do you shut down the feed?

This marks the third feature film from Swiss director Tim Fehlbaum, who crafts a taut, fast-paced thriller that never lets up. The film’s crisp 95-minute runtime maintains unrelenting tension, effectively conveying the improvisational ingenuity the real-life journalists had to employ—wiring a phone receiver to the studio for live play-by-play updates, wheeling out a studio camera to capture the hostage balcony, and more. Fehlbaum’s direction ensures clarity in both the technical challenges of live reporting and the chaotic uncertainty of a rapidly developing crisis.

For most of its runtime, September 5 keeps viewers confined within the walls of the TV studio, seamlessly integrating archival footage and audio with the actors’ performances. This claustrophobic setting immerses the audience in the tension felt by the journalists, who must cover a terrorist attack unfolding just beyond their walls. It also captures the disorientation and uncertainty of the moment, as the characters receive fragmented information and attempt to shape a coherent narrative. By refusing to cut to the hostage room or the Olympic Village, the film preserves its sense of immersion, ensuring that we, like the journalists, experience the crisis through incomplete and evolving details.

However, the film’s relentless pacing sometimes works against it. The passage of time is occasionally unclear—certain moments feel as though only seconds have passed when, in reality, hours have gone by. This disjointed sense of time momentarily disrupts the film’s otherwise gripping rhythm. The tight editing, while effective in sustaining urgency, offers little room for narrative breathers that might better indicate time’s progression. Additionally, the film’s breakneck speed leaves little room for character development. While hints of distinct personalities emerge—particularly during ethical debates and political tensions—there is limited opportunity for deeper exploration. The cast does an excellent job crafting unique rhythms for their characters, but one wishes they had more moments to pause and reflect, allowing the weight of their decisions to truly sink in.

Ultimately, September 5 is a gripping and immersive journalistic thriller, presenting thought-provoking ethical dilemmas while showcasing the remarkable improvisational skills of real-life reporters. Its rapid pace is both a strength and a weakness—keeping audiences on the edge of their seats while also making certain elements disorienting and preventing deeper emotional moments. As a writer, I’ll always be a sucker for the exaltation of journalism, and September 5 serves as a potent reminder of the profession’s critical role in society.

8.0/10