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    ‘September 5’ Review: When the Munich Games Changed Our News

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    Tim Fehlbaum’s journalism procedural, starring Peter Sarsgaard, tracks the broadcast coverage of the terrorist attack at the 1972 Olympics.A tense ethical showdown with the racing pulse of a thriller, “September 5” revisits the day in 1972 when the Munich Olympics became a very different kind of international spectacle. Before dawn that morning, while many of the world’s elite athletes were still sleeping in the Olympic Village or drunkenly heading for bed, eight heavily armed members of Black September, a militant Palestinian group, easily scrambled over a perimeter fence in the village. They quickly made their way to the building where the Israeli delegation was housed and took 11 of its members hostage, shooting two men, who soon died.This grim flashpoint sets “September 5” in motion, but the movie isn’t about the hostages, the militants or the Middle East. It’s a journalism creation story about the men and a few women from ABC Sports who — originally in Munich to report on fencing, boxing and other athletic competitions — ended up abruptly making history themselves when they covered a major news story globally on live television. The correspondent Peter Jennings (Benjamin Walker), for one, who had established the network’s first Middle East bureau, may have thought he would be enjoying a break by covering the Olympics. He was soon huddling on a balcony, bringing a conflict from the region into homes worldwide while coolly reassuring colleagues, in a mic-drop bit of dialogue, that he’s safely out of range of an exploding grenade.Jennings and the other boldfaced-journalism names hover in and around “September 5,” which centers on a handful of behind-the-scenes ABC employees, including an earnest young producer, Geoff (John Magaro). Along with a German translator, Marianne (Leonie Benesch), and a French-Algerian engineer, Jacques (Zinedine Soualem), Geoff is among the first in the group to hear the gunfire that breaks the early quiet. He rouses Roone Arledge, who had brought the Olympics to the network and was the president of ABC Sports. Arledge went on to become the president and chairman of ABC News, superstar status that might explain the flattering decision to cast the camera-friendly Peter Sarsgaard in the role.It takes a few beats for Geoff and the rest of the crew to grasp the magnitude of what’s happening nearby, but once they do, they step on the gas and just go, go, go. Setting an accelerated pace that rarely eases, the director Tim Fehlbaum, who wrote the script with Moritz Binder (Alex David is billed as a co-writer), smartly skips over the usual people-and-places introductions and the throat-clearing rest. Instead, he stirs up a whirlwind of frenetic motion, homing in on the ABC team, and tries to figure out what they’re actually covering. The network’s main face for the games, Jim McKay — who’s seen only in smoothly incorporated archival footage — was meant to have the day off. He was soon in his studio chair earpiece in place, anchoring and delivering updates live on camera.Fehlbaum leans heavily into the logistics of getting the crisis on the air, a focus on the labor and the deadline-fueled energy, which gives the movie the quality of a journalism procedural. People race down halls, burst into rooms, fire up monitors, grab rotary phones and bark into walkie-talkies as big as cinder blocks. (The movie is an analog fetishist’s delight.) Amid the kinetic motion, staffers like Marvin (a very good Ben Chaplin) clench jaws to discuss next moves, telegraphing the tough arguments to come. Among the movie’s stealthiest surprises is that each moving part, every rushed phone call and snap decision, is part of a feature-length argument that the filmmakers are making about journalism in the age of mass spectacle.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Teo Yoo and John Magaro on ‘Past Lives’ and Inyeon

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      It’s fitting, maybe, that the male leads of the continent-spanning “Past Lives” had to do their joint interview from different countries. John Magaro hopped on the video call from Budapest, where he was filming a new project, while Teo Yoo joined from Los Angeles, where he had traveled to attend November’s starry Art+Film Gala at the Los Angeles County Museum of Art.“It was quite overwhelming for me,” Yoo told us, still reeling from the party. “You try to look nice and be present, and not freak out when you shake hands with Keanu Reeves and Pedro Pascal.”Both men, who are in their 40s, felt fortunate to still be celebrating “Past Lives.” The movie has come on strong at the start of awards season, earning the top prize at November’s Gotham Awards and a strong haul of five Golden Globe nominations this week, including a key one for best drama. Directed by Celine Song, the film stars Greta Lee as Nora, a Korean immigrant living in New York whose marriage to good-natured Arthur (Magaro) is tested by a visit from her childhood sweetheart, Hae Sung (Yoo).It’s the most delicate of love triangles, because Nora can’t simply choose one or the other: Hae Sung is her Korean past and Arthur is her American present, and she must hold space for both in order to feel complete. Still, the carefully calibrated performances from Yoo and Magaro have had audiences swooning. (The Times critic Alissa Wilkinson called the men “magnificent.”) As each gazes at Nora, wondering if she will return his love, the accumulation of all their loaded glances is almost certain to break your heart.Greta Lee with Magaro and Yoo in the film. “Each and every one of us were, at one moment in time, working in that neighborhood as struggling actors,” Yoo said. A24“I don’t think I’ve ever been a part of something quite like this,” Magaro said. “To continue to be in the conversation of films, especially at this time of the year when such enormous things are coming out with a lot more power behind them, it’s been really nice. It’s one of those little films that could.”Much is made in “Past Lives” about inyeon, the Korean concept of destiny, and Yoo referred to it frequently when describing the film’s long tail. For the actor, who grew up in Cologne, Germany, and now works primarily in South Korea, “Past Lives” has been a major breakthrough since its Sundance Film Festival debut in January.“Oh my God, I was a mess,” Yoo said, recalling how he felt after the premiere there. “But I want to put John on the spot. John, have you seen it with an audience yet?”Not yet, Magaro admitted: The movie is simply too special to him. “If it’s a film that I don’t have so much invested in, I’m more inclined to watch it with an audience,” he said. “But because we all left a big piece of ourselves on the screen for this one, it’s just been hard for me to have the courage.”Here are edited excerpts from our conversation.“I knew people would make it, like, ‘me vs. Teo,’ but that’s not what the film is about,” Magaro said.Ryan Pfluger for The New York TimesWhat sort of reactions did you get when the film came out this summer?JOHN MAGARO I knew people would make it, like, “me vs. Teo,” but that’s not what the film is about. This is not “Twilight,” this is not Edward and Jacob. If I’m being honest about it, it bothered me that some audience members have turned it into that kind of movie, but it’s been really nice to see the people who are really seeing the deeper message of what Celine was trying to do. This is much more than just a story of unrequited love — it’s about something that’s deep and cosmic.YOO I think it also depends on the amount of life experience an audience member has had and what they can perceive. Maybe they will come back to the film at some point and they will say, “Oh my God, I hadn’t seen that other layer.”MAGARO The heart of the story is her coming to terms with who she is and choosing herself instead of being defined by either of the two men. It’s the idea of standing on your own two legs and being able to have one foot in the past and one foot in the present, and still being OK with that. I think that’s a lovely notion.What did your wives think of the movie?MAGARO My wife is Korean American, too, so she saw a lot of parallels between her own life and her own family story. She isn’t an immigrant herself, but her folks came here in their university days and she was first-generation. There is a piece of her that is still back in Korea and there’s a piece of her that is part of whatever this American experience is, so she felt very connected to the story and pretty emotional about it.YOO My wife already thinks of it as a modern classic. She thinks it’s going to be one of those movies that people are going to talk about throughout the future.What was going on in your lives when the script for “Past Lives” came to you?YOO I was in the middle of shooting a reality TV show in South Korea.MAGARO What?YOO Yeah. It was during Covid, and I was on a small island with a few celebrities on a cooking show. It was for newlyweds who didn’t have a chance during the pandemic to go on their honeymoon, so we were providing this extra special experience for them, and I was cooking my butt off every day for two weeks.MAGARO I got the script right before the pandemic. My wife was pregnant at the time, and we had just moved into our new place in Brooklyn. I remember loving the script and wanting to be a part of it, but then Covid hit and it was gone. That summer, there were some rumblings that it was coming back but they were going much younger. I think they had cast Teo’s role, and it was a younger guy. Then that all broke down and they needed old people to do it, so they called the nursing home and we came out.YOO I remember Celine saying the initial idea for the film was conceived when she was 29, so she thought she needed to write it for 20-year-olds. And as the film progressed, she turned 30, and then became early 30s, so then she needed to revise it — she matured, and the characters needed to mature. So in this way, we met, and this is how inyeon comes into play.“To be an East Asian actor and not have to lean against tropes like martial arts and comedy, but to be a romantic lead and be accepted as that with the power of my talent?” Yoo said. “That’s really something to me.”It’s funny that the film was conceived prepandemic because so much of it feels even more relatable now, like the frequent video calls between Nora and Hae Sung.MAGARO That’s one of those inyeon things Teo was talking about. If this movie came out before Covid, would it have resonated as much? I mean, look at what we’re doing right now on Zoom. The whole idea of me being in this part of the world and you being in the other part of the world is so much more universal.How did the two of you get to know each other?MAGARO We were kept apart until the scene where the two characters actually meet. We were really lucky to have a crew of people who were able to facilitate Celine’s wish, so that night when we finally did meet, we got to share this real experience that made it into the movie. But after that, we went back and hung out in our trailers for a while. We had a drink, we had a toast and we got to break the ice a little bit.YOO It was a relief, after all the pent-up stress.MAGARO Yeah, because Celine wanted Greta to talk about him to me, and about me to him. That night, we got to hang out and let our hair down.YOO On my end, I feel like there was an unspoken bond of trust. I’d never met you, but just seeing your body of work and the person you are, I knew that the moment that we would meet and work together, there will be something of a shared brotherhood.And all that lent an electric charge to the bar scene you have together.MAGARO That’s one of my favorite scenes that I’ve ever done, actually. First of all, it was our chance to finally share a moment. All this mythology had been built up around each other, and we got to sit there in the bar and talk man to man and play a scene that was written so beautifully, showing these men who were not combative men. Although they’re both jealous, they could temper that.YOO Yeah, I always talk about it in terms of vulnerability. I’ve watched a few of those YouTube reactions to the movie, and I see those faces that they make: “Ooh, awkward.” And I’m like, yeah, that’s exactly the sweet spot, that vulnerability, because it gives way to human beings who are able to get hurt a little more, but that also gives human beings kind of a passage to get loved a little more. That vulnerability is a space that is a bit more needed nowadays, and I feel people are seeking that out and thirsting for that.How did you feel when you wrapped the film?YOO First of all, there was a tremendous sigh of relief. I felt this heavy burden was lifted off my shoulders because I’m not at all a person like Hae Sung: I don’t live with a lot of repressed emotions, so it was really, really hard to live in that bubble for those seven, eight weeks. But there was a scene we shot in St. Mark’s Place and one moment in between takes where we didn’t go back into our trailers. We were cherishing the moment because each and every one of us were, at one moment in time, working in that neighborhood as struggling actors and bartending somewhere around the corner. And now we were all leading actors with our names tagged to the back of our chairs in an A24 film in the middle of New York City.Teo, you came to New York as a young man to study acting but didn’t see opportunities there to play characters you could relate to. How does it feel to come back and star in a film like this?YOO It feels like a dream come true, who am I kidding? To be an East Asian actor and not have to lean against tropes like martial arts and comedy, but to be a romantic lead and be accepted as that with the power of my talent? That’s really something to me. I’m really, really lucky, and I don’t take it lightly.How close is your current path to the one you imagined you’d be walking?MAGARO Not this at all. I think a similarity between me and Teo is that you’re from Cologne, I’m from Ohio — we’re from places where this didn’t really exist. I went to school, I stumbled ass-backwards into agents in New York, and I thought maybe I’ll work in regional theater or something like that because the idea of film was so alien to me. I try to keep a level head because it’s weird to work with people who you had posters on your wall of, you know?YOO Totally.MAGARO And when you get to work on films like this, it’s surreal. You are part of this magic that you grew up loving and not knowing how to reach. And even for a moment, you get to peek in and touch it and taste it. I’m getting emotional, actually, saying this. It’s beyond words, but no, I never expected this.YOO Me neither. I mean, in a faint way, in the distance maybe you dream about it and you hope for it. But initially, after my studies in New York, I thought I would be a street performer in Europe, to be honest with you. I really thought I would be performing in parks for children, doing juggling acts. My wife helped me to set my mind into a different trajectory to go to Korea and then get cast in film and television, but I had my mind set on something like a nomad lifestyle.I guess that’s where we all are coming from: If the industrialized world wouldn’t have had invented the magic of light and cinema, we would still be on the back of a carriage going from town to town, from village to village, gathering people around and telling stories. Now, we just do it in a more heightened and luxurious way. More

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      A New Kelly Reichardt Movie? These Actors Keep Showing Up

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      The director Kelly Reichardt has developed something of a troupe of performers who are eager to work with her time and time again. A few of them appear in her latest film, “Showing Up.”In her new film “Showing Up,” the director Kelly Reichardt reunites for the fourth time with the actress Michelle Williams, who plays Lizzy, a stressed-out sculptor, in the Portland-set art world comedy. In previous Reichardt films Williams has portrayed a drifter looking for her lost dog (“Wendy and Lucy”), a beleaguered and dehydrated pioneer (“Meek’s Cutoff”) and a Montana woman trying to acquire sandstone for her new house (“Certain Women”). At this point, Reichardt and Williams’s collaboration is one of the most fruitful in the realm of indie cinema.“She has extreme depth perception,” Williams said of Reichardt in a phone interview. “She can see where my sight stops, so I do what I can and I add what I can, but I really am trusting her to take me to the new place, to the next frontier.”But Williams is not alone in being drawn to Reichardt. “Showing Up,” now in theaters, also marks the second time Reichardt has enlisted John Magaro, last of her acclaimed 2020 feature “First Cow,” and the third time she’s brought on James Le Gros, who has shown up in her 2013 eco-thriller “Night Moves” and also in the 2016 omnibus “Certain Women.” In “Showing Up,” Magaro plays the mentally ill brother of Williams’s character, while Le Gros plays a teacher at the art school where she works.Williams and James Le Gros in “Certain Women.”Sony PicturesIn the nearly three decades since her first feature “River of Grass,” Reichardt has developed something of a troupe of actors who are eager to work with her time and time again. In addition to the repeat performers from “Showing Up,” others have made multiple Reichardt films, among them Larry Fessenden, Will Oldham and Will Patton.“There’s no requirement to come back,” Magaro said. “A lot of these people go on and make a lot more money doing other jobs.” But the actor said that there was a reason people return. “At the heart of it is Kelly and that team and that camaraderie and that family atmosphere she creates.”Reichardt works with small budgets and often in and around Portland, Ore., telling intimate stories that often focus on outsiders and the minutiae of life, whether she’s making a movie set in a fur trapping community in the 19th century or at an art school in the present. “Showing Up” is arguably her lightest film yet, a funny exploration of the quotidian struggles of being an artist.The director’s resources have grown since she made “Wendy and Lucy” (2008) — her first collaboration with Williams — but not by much. Reichardt remembered the actress, who had recently received her first Oscar nomination, sitting on an apple box on the side of the road during the filming of “Wendy.” “We had nothing,” Reichardt said. She also explained that, on “Night Moves,” Eisenberg and Dakota Fanning helped push a car out of a ditch and lugged equipment around with the rest of the crew.“You really need to be the kind of person who wants to pitch in and who doesn’t mind that there aren’t walls between people and that you might be asked to drive yourself to work,” Williams said. Over the years Reichardt has recruited big name stars including Jesse Eisenberg, Kristen Stewart and Laura Dern, but she has said that “plenty of people” still say no to her. Acting in a Reichardt movie is not for everyone, she herself admitted.“I have a great rejection letter from Chris Cooper,” she said. “He just wrote, ‘I don’t want to live through this.’” (A representative for Chris Cooper did not have a comment.)Reichardt does not begrudge that response. “People are smart, like Michelle is down for it and is really game and you have to have people that are up for this kind of filmmaking,” she said, adding, “otherwise they’ll be very unhappy.”Dakota Fanning and Jesse Eisenberg in “Night Moves.”CinedigmThe lack of hierarchy on Reichardt’s sets also manifests onscreen, in some of Reichardt’s artistic choices. Patton recalled throwing away his ego on “Meek’s Cutoff,” about a group of pioneers in the arid Oregon desert under the guidance of a bloviating leader (Bruce Greenwood). “At a certain point you say, ‘OK, maybe you see me in a distance walking up a hill for this whole movie,” he said. “That’s kind of wonderful in a way.”That said, it was a wide shot in “Meek’s” that first made Magaro take notice of Reichardt as a filmmaker. The “brave” choice made him want to seek out more of her work.In addition to “brave,” Reichardt was described in interviews for this piece as a “genius” (by Williams), a “rascal” (by Hong Chau, who makes her Reichardt debut in “Showing Up”), and scary, of all adjectives, by Le Gros. “She scares me a little bit,” he said. “I don’t want to get her on my bad side.” When asked to explain why the small-in-stature Reichardt scares him, Le Gros said, “Any room that she’s in, she’s the toughest one there.”André Benjamin with Chau in “Showing Up.”Allyson Riggs/A24Reichardt knows what she wants and she is relentless in her pursuit of that. “She’s very decisive and uncompromising and she has a vision in her head and nothing is going to stop her from getting that on the screen whether that’s hail storms or oxen or 120-degree heat,” Williams said. But rather than Reichardt’s vision being restrictive, it’s actually liberating, according to Williams. “You can trust her to the ends of the Earth because of the filmmaker that she is,” the actress added.Reichardt, for her part, doesn’t think about actors when writing her films, which she often pens alongside Jon Raymond, who co-wrote “Showing Up.” When it came to Lizzy, an exhausted artist preparing for a show, what first made Reichardt consider Williams for the role was a photo of the sculptor Lee Bontecou.There’s no rehearsal on a Reichardt film, but Reichardt does provide her actors with reference materials before they arrive on set. Chau recalled the casting director Gayle Keller arriving at her house with a box of books and art supplies Reichardt wanted her to have before portraying Lizzy’s landlord Jo, a fellow artist with a slightly haughty demeanor.Beyond reading, there is also often an experiential element to preparing for a Reichardt film. The cast of “Meek’s Cutoff” went to a “pioneer camp,” while Magaro ventured into the wilderness with his “First Cow” co-star, Orion Lee, and a survivalist who gave them roadkill-skinning lessons. In the case of “Showing Up,” Chau shadowed the artist Michelle Segre, while Williams observed Cynthia Lahti, who provided the delicate statues of women that Lizzy makes.“I feel like that’s what it is with getting to work on films like ‘Showing Up’ or getting to work with Kelly Reichardt is what you do offset is just as important or if not more important than what you are doing on set,” Chau said.Williams has now been traveling to Portland to make films with Reichardt for 15 years and considers it a “homecoming.” She has even considered moving there full time. Williams remembered that way back when she was joining “Wendy and Lucy,” Reichardt told her, “I can’t promise you much but on set we’ll have good coffee and good sandwiches.” To Williams, that sounded great.Now they have some more amenities but the spirit of their work remains the same. “As these movies have gotten a little bit bigger and have gotten more attention, we still carry this incredible intimacy,” Williams said.And others want to come along. “I hope I get to join her little troupe of actors,” Chau said. “I will always show up to whatever Kelly does if she invites me.” More