At a time when world events are instantaneously reported on social media and news sites, it’s an enlightening, altogether gripping experience to watch a film like September 5, which depicts how a dedicated crew at ABC Sports managed to broadcast the 1972 Munich Olympics terrorist attacks live to an entire nation.

Not only does German director Tim Fehlbaum’s accomplished third feature detail all the logistical hurdles the team needed to scale so they could capture the crisis as it happened, relying on massive TV cameras, smuggled 16mm film stock, a slew of walkie talkies and plenty of ingenuity. Even more importantly, the movie tackles the tough questions faced by several hardworking newsmen — and one vital female translator — as they dealt with a situation in which many human lives hung in the balance.

Those enduring questions, as well as intense, lived-in performances from a terrific cast, help to make September 5 more than just a time capsule about how the news was handled in the pre-digital age; it’s an account that speaks to our time as well.

Flawlessly blending tons of archival footage from September 5, 1972 — a day that now lives in infamy for those who were alive at the time — with uncanny behind-the-scenes creations of the ABC crew working overtime, and then some, to get it all on the air, the film focuses on the key players who fought to make it happen.

They include Roone Arledge (Peter Sarsgaard), the ABC executive in charge of broadcasting the ’72 Munich games; Marvin (Ben Chaplin), the team’s smart and testy head of operations; Marianne (Leonie Benesch), a local German translator; and Geoff (John Magaro), a young producer meant to cover an uneventful day of boxing and volleyball, who winds up landing on something much more significant.

Things start off ordinarly enough, with a sleepy TV crew settling in for their shift after a day which saw Mark Spitz famously take home a gold medal in swimming, But then gunshots are heard at the Olympic Village, which is just a few blocks away from ABC’s temporary headquarters. Geoff, who’s been left in charge while the higher-ups take a much-needed day off, soon finds himself doing everything he can to both figure out what’s happening and report it live to viewers back in America.

With the help of Marianne, who goes from being a neglected backroom interpreter to a major field reporter, Geoff and his team quickly realize that a pivotal and possibly world-changing event is under way: Palestinian terrorists, belonging to a group known as Black September, have killed two Israeli athletes and taken nearly a dozen others hostage, asking for the release of hundreds of prisoners in return.

This is all happening, of course, in Germany, at a time when the country was starting to publicly come to terms with the horrors inflicted on Jews during WWII. That history is not easily forgotten by Geoff and the others — especially Marvin, who’s the son of Holocaust victims and holds a major grudge against the Germans he comes into contact with.

Felhbaum, who wrote the script with Moritz Binder, delivers some early exposition about Marvin and the other characters during the film’s opening scenes, which kick off with an exposé depicting the ABC Sports crew at work behind-the-scenes. After that, September 5 quickly becomes a play-by-play account of how the Munich coverage came together, and it’s a riveting one to watch.

Among the many obstacles Geoff faces, one of the main ones involves getting footage of the building where the hostages are being held. Quick on his feet and unafraid to take major risks, he has his team wheel a giant newsroom camera onto a hill outside the office, while a smaller 16mm rig is smuggled — along with star reporter Peter Jennings (Benjamin Walker) — into a building across the street from the Israeli dormitories under siege.

But that raises another quesiton: How do you get the 16mm footage back out of a zone under police lockdown? Geoff again comes up with a crazy idea, dressing up a crew member (Daniel Adeosun) as a Team U.S.A. athlete and having him sneak back and forth with a few film cans taped to his body. The exposed reels are then developed in an on-site lab, with one of them revealing the infamous black-and-white shots of a masked Black September member lingering outside on the balcony.

September 5 doesn’t skimp on any of the technological details — we also learn that Jennings reported events over a telephone, with the receiving end rigged to a studio mic — but Felhbaum steps back often enough to help viewers see the bigger picture at play.

What happens if Black September winds up executing one of the athletes? Should the team also capture that live on television, possibly broadcasting it back home to the parents of David Berger, an American-born weightlifter competing under the Israeli flag? (The larger Israeli-Palestinian question, however, is never raised in the film, which keeps its eyes glued to events as they unfolded back then.)

Geoff is unsure how to handle things, caught between Marvin, who becomes the crew’s moral beacon, and Roone, who’s constantly fighting both his own network and others — including CBS, with whom they share the only available satellite link — to keep exclusivity over the story. The fact this is all being handled by newsmen more familiar with sports than terrorism adds another layer of intrigue, although September 5 suggests that it’s precisely due to the team’s experience with live events that they were able to succeed so well.

Even if you know how the Munich attacks tragically concluded, the film remains suspenseful to the end, focusing on characters trapped between their desire to accomplish their jobs and their awareness of what’s exactly at stake. Magaro (Past Lives, First Cow) encapsulates that dilemma perfectly — as does the rest of the cast, with talented actress Benesch (The Teachers’ Lounge, Babylon Berlin) playing someone in a particularly tough spot, serving as a middleman between the Germans and Americans.

While the equipment back in 1972 was limited to shaky 16mm or gargantuan studio rigs, Fehlbaum and cinematographer Markus Förderer have more gear available to them now, though they keep the camerawork over-the-shoulder and intimate to better focus on the performances. Editor Hansjörg Weissbrich expertly cuts in all the archive news footage from the time, so we only see what was really shot by the ABC Sports crew instead of recreations of those images.

The gritty and naturalistic aesthetic seems worlds away from Fehlbaum’s previous feature, an ambitious sci-fi drama called The Colony. And although the director surely took some liberties with what actually happened inside the ABC newsroom, he never loses his focus on the lasting importance of reporting real, and not fake, news in the most relevant way possible.