Durante los Juegos Olímpicos de Múnich de 1972, un equipo de periodistas deportivos estadounidenses se ve obligado a cubrir la crisis de los rehenes entre los atletas israelíes.Durante los Juegos Olímpicos de Múnich de 1972, un equipo de periodistas deportivos estadounidenses se ve obligado a cubrir la crisis de los rehenes entre los atletas israelíes.Durante los Juegos Olímpicos de Múnich de 1972, un equipo de periodistas deportivos estadounidenses se ve obligado a cubrir la crisis de los rehenes entre los atletas israelíes.
- Dirección
- Guión
- Reparto principal
- Nominado para 1 premio Óscar
- 25 premios y 28 nominaciones en total
Resumen
Reseñas destacadas
For someone who didn't really know the story, the details of what went down truly interested me. They did a solid job of not telegraphing the plot points.
Some may find the lack of change of scenery tiring, but I think it worked in this case. I think they wanted you to feel like the control room is your world, and to feel as they did on this eventful day.
They touched on the political and emotional elements nicely. Making you think, without preaching.
Mixing in footage from the actual event, including broadcast footage as well, definitely draws you more into the experience. A nice touch.
While it's not a movie I really intend on rewatching over and over, it is a very well done piece that I'd recommend to friends who enjoy movies like this.
The world watched in real-time as the crisis unfolded, and Black September achieved exactly what they wanted: maximum publicity. This was one of the first instances where a terrorist attack was staged with the global media in mind, creating a model that has since been replicated.
The media's role in amplifying terrorism is complex. On one hand, coverage is necessary to inform the public, expose security failures, and hold governments accountable. On the other, the relentless focus on the perpetrators can sometimes grant them the notoriety they seek. This has led to ongoing ethical debates about how journalists should report on terrorism without unintentionally promoting it.
By revisiting September 5, the film not only honors the victims but also forces viewers to confront the enduring complexities of terrorism, security failures, and international politics that remain relevant today.
I liked the classic 1972 vibe, sigars, the know how, the first tv's and ict difficulties in that time. You also get a rewatch of the drama that took place in that olympic village. The 100minutes flew by and I never took my eyes of the screen.
If you like movies or real good documentaires, i strongly advice to watch this. Especially if your into world wide events. A 9 out of 10! Watch ln the big screen!!!!!!!!!...
The story feels real and intimate because it doesn't need to exaggerate the drama. There are no unnecessary reenactments or cheap emotional tricks. The pressure of the moment is conveyed through intense dialogues, uncertain glances, and the constant feeling that every decision inside that newsroom could change everything. It's a raw look at journalism when immediacy clashes with the responsibility of telling the truth.
The setting is excellent, and the pacing maintains the tension without forcing situations. While some parts may feel slightly stylized for cinematic impact, the film achieves its goal: making us feel the anguish of those who lived that day, not as mere witnesses, but as the ones responsible for informing the world.
¿Sabías que...?
- CuriosidadesAll of the live video footage of the siege and the studio presentation and interviews is the original footage as broadcast by ABC during the crisis, taken directly from their archive.
- PifiasThe crew are seen drinking from beer cans with retained ring pulls. This type of opening mechanism wasn't widely in use until the original patents expired in 1975, three years after the events depicted in the movie.
- Citas
Marianne Gebhardt: [translating] He's saying that the Games are an opportunity to welcome the world to a new Germany, to move on from the past.
Marvin Bader: Yeah, sure.
Marianne Gebhardt: I mean, it's what we all hope for. What else can we do but move on, try to be better?
Marvin Bader: [stops the video] Are your parents still around?
Marianne Gebhardt: Yes.
Marvin Bader: Let me guess- they didn't know either, right?
Marianne Gebhardt: [pause] Well, I'm not them.
Marvin Bader: No. No, you're not. I'm sorry.
- ConexionesFeatured in 82nd Golden Globe Awards (2025)
- Banda sonoraFortunate Son
Performed by Creedence Clearwater Revival
Music and Lyrics by John Fogerty (as John Cameron Fogerty)
(c) Shanty Kelyn Music / Concord Copyrights
Courtesy of Concord Music GmBH, Berlin
(p) Craft Recordings, a division of Concord
Selecciones populares
Detalles
- Fecha de lanzamiento
- Países de origen
- Sitio oficial
- Idiomas
- Títulos en diferentes países
- September 5
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Recaudación en Estados Unidos y Canadá
- 2.508.723 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 80.802 US$
- 15 dic 2024
- Recaudación en todo el mundo
- 8.237.910 US$
- Duración
- 1h 35min(95 min)
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.39 : 1