September 5’s rollout begins in select theaters on December 13, followed by a wide release on January 17.
By Elazar Abrahams
It’s not every year you get a movie like September 5. Dialogue-driven thrillers are becoming rare in today’s cinematic landscape, which makes this historical drama such a standout. Directed by Tim Fehlbaum, the film tackles the tragic events of the 1972 Munich Olympics, where Israeli athletes were taken hostage and murdered by Palestinian terrorists, from a unique angle: the American sports broadcasting team thrust into covering an unfolding crisis in real time. Out of their depth and figuring out the facts in real time, the images and commentary these reporters televise are being watched by the entire world.
The narrative unfolds almost entirely in a single location, following Geoff (John Magaro), an ambitious producer, and Roone Arledge (Peter Sarsgaard), an executive, as they try to navigate the line between reporting the news and sensationalizing it. The flick is a tightly wound thriller, brimming with moral dilemmas about the responsibilities of journalism in moments of tragedy. The film doesn’t aim to be the definitive account of these events but instead serves as a thought-provoking companion piece to Stephen Spielberg’s 2005 film Munich, exploring the broader ethical questions surrounding the media’s role in moments like this.
The performances anchor the story, with Magaro and Sarsgaard bringing complexity to their roles. Leonie Benesch is particularly compelling as Marianne, a German interpreter caught in the chaos, adding an emotional layer to the relentless tension. The movie’s 94-minute runtime is packed with gripping exchanges, making it impossible to look away.
What makes September 5 so effective is its ability to turn something as seemingly mundane as men talking in a room into a cinematic experience that feels as pulse-pounding as any action movie. If you’re a fan of journalism-heavy dramas like Spotlight or She Said — or if you simply love a film where big questions are debated in small spaces — this is a movie you’ll want to see.
In a year with so much cinematic spectacle, September 5 feels like a refreshing reminder of the power of smart, focused storytelling. These types of films — thoughtful, dialogue-driven, and socially conscious — used to come out regularly, and watching this one felt like slipping back into a golden age of cinema. This is one of 2024’s best movies.
I give September 5 an A.
TV and City 