BFF FILM & FESTIVAL BLOG
September 5 Screening & Q&A at Paramount
Awards season is in full swing, and from October to February, it’s an exciting (and slightly overwhelming) time packed with screenings, Q&As, and filmmaker conversations. Each week, BFF receives lots of invites—it’s hard to keep up! But one of the perks of being a BFF volunteer and writing for the blog is getting access to some incredible films during this time.
Earlier this month, I had the opportunity to attend a screening of September 5, hosted at Paramount’s office right off Times Square.The film, which takes place during the 1972 Munich Olympics, recounts the harrowing events of the hostage crisis in which 11 Israeli athletes were taken captive by a Palestinian terrorist group—all from the perspective of journalists covering the crisis. The film’s tension-filled narrative unfolds solely in the ABC control room, offering a unique lens while exploring the intricate role of media in such a high-stakes situation.
Q&A with writer/producer/director Tim Fehlbaum, writer Moritz Binder.
Following the screening, I attended a Q&A session with the film's director, Tim Fehlbaum, and co-writer, Philipp Trauer where they shared insights into their creative process and the themes they sought to communicate. What stood out most was the filmmakers’ emphasis on realism, their deep commitment to authenticity, and their exploration of the broader implications of media in crisis journalism.
One of the most striking aspects of September 5 is its setting. The entire film takes place within a control room, where monitors serve as the only window to the outside world. This restrictive location was a deliberate choice to immerse the audience in the limitations faced by journalists during the crisis. Also in the industry it’s called a “Contained Thriller”.
Fehlbaum explained that the biggest constraint in filming was also the characters’ biggest constraint: they were forced to make critical decisions based on incomplete information—just as the filmmakers told a story from afar. This decision not only serves the plot but also reflects the emotional weight carried by journalists attempting to piece together a fragmented truth.
Throughout the discussion, the filmmakers underscored the importance of media during the event. This was the first time a terrorist attack was broadcast live, and newsrooms were the lifelines through which the world learned about the hostage crisis—yet the coverage was often piecemeal and contradictory. Fehlbaum and Trauer pointed out that one of the core challenges of the story was portraying the limitations of journalism, particularly in a world where truth is elusive and fragmented.
This theme of fragmented truth permeates the film, as the characters—journalists, government officials, and security personnel—are all working with partial information. The filmmakers wanted to show that their characters were, in essence, facing the same challenges as the world’s journalists at the time. The lack of clear answers from the outside world amplified the sense of isolation and urgency within the control room, adding depth to the narrative’s emotional impact.
Another unique aspect of September 5 is its attention to detail in portraying the control room as a real workplace environment. Fehlbaum and Trauer spoke at length about their commitment to making every element of the setting feel authentic. They wrote background scripts for the extras in each scene, giving them specific tasks and arcs to create a sense of real-time work. This effort was not just about filling the background with activity; it was about creating a living, breathing office where every individual had a role in the unfolding crisis.
This level of detail helped elevate the film from a simple historical drama to a compelling, immersive experience. The filmmakers weren’t just interested in telling a story about a tragic event; they were also keen to convey the atmosphere and human dynamics of working under intense pressure. By focusing on the realism of the workplace, they invited the audience to experience the emotional weight of the events in a more visceral way.
In sum, September 5 is more than just a recounting of a historical tragedy—it’s a film that explores the complexities of journalism, the pursuit of truth, and the emotional toll of working under pressure. Through the isolated environment of the control room, the filmmakers crafted a narrative that mirrors the experiences of those tasked with covering the Munich Olympics hostage crisis—both in terms of the facts they could access and the emotional burden they had to bear. As Tim Fehlbaum and Philipp Trauer shared their creative journey, it became clear that their film is a thoughtful meditation on the challenges of understanding and communicating complex events, especially when the truth remains elusive.
Reel Works’ Outcalt Award Nominees Shine in Virtual Screening
The nominees of the 2021 F. John Outcalt Award for Outstanding Filmmaking were highlighted at a virtual screening produced by Reel Works, a non-profit production company uplifting young people’s cinematic visions. Here are reviews of the dramas and documentaries directed by these incredible storytellers.
Written by Kennedy McCutchen
The nominees of the 2021 F. John Outcalt Award for Outstanding Filmmaking were highlighted at a virtual screening produced by Reel Works, a non-profit production company that empowers young storytellers through partnerships with filmmaking mentors and resources. Hosted by Bryan Clark, the night featured a combination of five different dramas and documentaries, followed by Q&A’s with each filmmaker. Reel Works’ efforts to uplift young people’s cinematic visions in New York City succeeded by leaps and bounds; by the end of the evening’s virtual screening, dozens of attendees had been moved to tears by these young visionaries. The nominees and their respective films are featured below.
Photo Credits: Shot from “MerryMakers” via Reel Works YouTube channel
“MerryMakers”
Directed by Elena Goluboff
Running Time: 10 minutes
Watch on YouTube
Goluboff’s techniques feel effortless and well-executed in a short film about two young girls growing apart while maintaining their independence. The film begins with 12:17 am flashing brightly on the screen as two thirteen-year-olds, Maya and Nora, contemplate their boredom inside a dimly lit bedroom. Maya, sensing Nora’s dissatisfaction with their night, proposes venturing out past curfew into the streets of New York, silently hoping to win back her friend whose emotional distance is palpable.
The use of a handheld camera closely follows their whimsical journey as Maya’s subdued narration ponders her friend’s growing distance. Eventually, the pair stumble into a man abusing his girlfriend; while their childlike whimsy dissipates, their empowerment does not. Maya throws a glass bottle at the man to disrupt the scene. Running away, Maya and Nora encounter more obstacles. They are arguing about whether to return inside when they see Maya’s dad awake in the house. Tension builds as Maya realizes that not all friendships are meant to last, and she once again asserts her strength by going against Nora’s demands, turning the key to unlock the door to her home.
“Under the Sun”
Directed by Jesus Luna
Running Time: 8 minutes
Watch on YouTube
Luna investigates the complexities and intersections of religion and science via his family members’ experiences with sleep paralysis. Juxtaposing shots of color and black and white, the eight-minute documentary showcases interviews of Luna’s aunt and uncle relaying their sleep paralysis histories. The dichotomy of religion and science arises in those diplomatic confrontations; his uncle, Gabriel, seeks to understand through his faith by taking up consistent prayer, while his aunt, Yvonne, attempts to remedy her episodes by managing her stress and maintaining a regular sleep schedule. Luna expertly includes Father Espinal, a Catholic priest, who unexpectedly bridges the divide between Luna’s family members. “There seems to be a false dichotomy that exists between science and faith,” the priest asserts, seeking consensus and understanding. Luna concludes the film with a similar tone, reinforcing his efforts to find not only underlying meaning but greater purpose and cohesion in the ordinary events of a life.
Photo Credits: Shot from “Under the Sun” via Reel Works YouTube channel
“Normal Family”
Directed by Maya Velazquez
Running Time: 9 minutes
Watch on YouTube
It was hard not to be incredibly touched by the love story of Velazquez’s mothers, Maritza and Jeannette. Velazquez’s documentary did not feel like her first; her artistic choices appeared like those of an experienced and powerful storyteller. The timing of her edits showed true mastery over material that was so deeply personal and profound.
“I love her. She’s my best friend… That’s what it’s all about. It’s about love.”
Moving between home videos of the past and glimpses of the present, Velazquez recounts her surprise after learning about the difficult battles each of her mothers underwent when coming out to their respective families. Their journey for authenticity and honesty is enhanced by the mise-en-scene of Maritza in the grocery store, of Jeannette running errands in the car, and of her brother, Marcus, playing Jenga. These small shots of the ordinary echo the wonderful life Velazquez continues to share with her family amidst injustice, intolerance, and pain.
“Who Is It?
Directed by Marcus Cochran
Running Time: 11 minutes
Watch on YouTube
Cochran’s drama is a nod to traditional film noir with a twist of the contemporary. Shot in black and white: Cochran directs a tense exchange between a father, Joseph, and a son, Michael. The son, diagnosed with multiple personality disorder, struggles to confront his selfish and manipulative father. Upon arrival, Joseph feigns celebration for his son’s birthday, only to mischievously grab at Michael’s wallet by the end of the evening. As the camera shifts from wide shots to close-ups, viewers watch Michael muster the strength to confront his abuser and subsequently his childhood trauma, tackling the horrors of his past while accepting who he is now.
Photo Credits: Shot from “What We Owe to Ourselves” via Reel Works YouTube channel
“What We Owe to Ourselves”
Directed by Khiari Jaffier
Running Time: 10 minutes
Watch on YouTube
Jaffier professionally excavates the conflict between the capitalist dollar and self-actualization in his documentary, “What We Owe to Ourselves.” Jaffier’s expert narration plays over shots of paintings, high school hallways, and assorted creative spaces as he contemplates how young people’s artistic ambitions can be squashed by incentives to dive into “safer” career choices.
“Life hasn’t gotten easier, it’s just gotten noisier.”
Erik Satie’s “Gymnopédie 1” ripples over interviews with aspiring students, like Paolo whose passion for the piano is evident in his earnestness. In a conversation regarding the essence of creativity, Paolo mentions that “it’s all kind of cheesy stuff, but I like the cheesy stuff.” It’s these small idiosyncratic moments captured on film that makes Jaffier’s inquiry into becoming such a pleasure.
All of these young filmmakers showcased true mastery over cinematic techniques in their own unique ways. Jesus Luna was announced the winner of the Outcalt award at Reel Works’ virtual 20th Anniversary Gala on May 26th with his film “Under the Sun.” You can donate to Reel Works’ efforts here.
