Munich 72 as you had never seen it

Netflix has already released a film that went rather unnoticed in cinemas and is worth recovering if you didn't see it. September 5, directed by Tim Fehlbaum, recounts the kidnapping of Israeli athletes during the 1972 Munich Olympic Games. It does so, however, from a very unique point of view: everything is explained from the control room of the American network ABC, which was there to broadcast the major sporting event. The film, therefore, does not aim to be a simple recreation of the kidnapping, but to explain how a tragedy with political and historical implications was covered on television.What the film proposes is a very interesting narrative exercise, because it combines the real images of ABC's broadcast from fifty-four years ago with recreations of the inner workings of television coverage. Practically the entire film takes place in the control room: a dark workspace, full of monitors and occupied by journalists, producers, and technicians specialized in sports broadcasts. Reality, however, forced them all to adapt to the dilemmas and informational difficulties of a much more dramatic event. It was about explaining what was happening inside the Olympic Village while the competitions were still ongoing.One of Fehlbaum's obsessions was rigor and fidelity to events, and therefore the work regarding editing is extremely meticulous. A large part of the images we see through the monitors in the control room are actual footage, which requires extraordinary synchronization with the entire recreation that is built around it. Even the real images of the broadcast with the iconic presenter Jim McKay, who broadcast the events on screen, have been respected. The performances and editing achieve constant interaction and dialogue between reality and fiction.But September 5 goes beyond the hijacking, which becomes the background motor. That broadcast marked a turning point in live retellings of tragedies. The film portrays the social context surrounding the events, with a conflicted Germany that still didn't know how to manage its past. And it also raises the television dilemmas inherent in a broadcast of this nature: the balance between information and spectacle, media responsibility in the face of tragedy and the pain of the protagonists, the medium's own influence on the course of events, and the technical intricacies that had to be overcome at a time when live satellite broadcasts were still incipient. It's fascinating to see how ingenuity compensated for everything technology has since made available to us. And how, despite the passage of years, the most difficult journalistic decisions remain the same.September 5 provokes the unease of a thriller and the emotion provided by the account of real events. A good film that reminds us that the world may have changed less than we think.