The 1972 Munich Olympics were intended to present a reformed and peaceful West Germany to the world, the first Games held on German soil since the 1936 Berlin Olympics under the Nazi regime. That carefully constructed image collapsed on September 5, when the Palestinian militant organisation Black September took 11 members of the Israeli Olympic delegation hostage. The crisis ended with a failed rescue attempt and the deaths of all 11 hostages, a West German police officer and five of the eight attackers. Because television cameras were already broadcasting the Games to a global audience, the hostage crisis unfolded before viewers around the world, transforming a sporting event into an unprecedented live international news story and raising questions that would permanently alter the relationship between terrorism, television and journalism.

Directed by Tim Fehlbaum, September 5 narrows its focus almost entirely to the ABC Sports control room, where a team of sports broadcasters suddenly finds itself covering an international hostage crisis. Rather than concentrating on the hostage-takers or attempting to recreate the crisis primarily from outside, the film follows the journalists as they make decisions in real time about what to broadcast, how to describe the unfolding events and where the boundaries of responsible live coverage lie. The tight, single-location structure and recreation of period broadcast technology give the film a procedural and claustrophobic quality, while its emphasis on editorial decisions turns the newsroom itself into the centre of the drama.

The film received widespread critical acclaim and won nine German Film Awards, including Best Film, Best Director and Best Screenplay. It was also nominated for Best Original Screenplay at the Academy Awards and for Best Motion Picture–Drama at the Golden Globes. More importantly, September 5 offers a compelling examination of the ethical dilemmas that arise when journalism becomes part of an international crisis. By focusing on what the world sees, how it sees it and what remains outside the frame, the film explores the power and responsibility of live media in moments of political violence. It is a must-watch for anyone interested in journalism, international conflict and the politics of representation.