Presented as based on Juval Aviv, whose account in the book "Vengeance" (which inspired the film) is heavily disputed by Israeli intelligence officials. May be a composite or largely fictionalized figure.

Fictional name for a member of the assassination team. Represents the type of operative Mossad might use, but the specific character and his actions are part of the dramatized narrative.

Fictional name for the team's explosives expert. The role existed in Mossad teams, but this specific character is fictionalized based on the disputed source material.

Fictional name for the team's forger. Represents a necessary function in covert operations, but the character is fictionalized.

Fictional name for a team member tasked with security/cleanup. His expressed doubts serve a narrative function, but the character is fictionalized.

A composite character likely based partly on figures like Mike Harari, who managed aspects of Operation Wrath of God, but fictionalized for the film.

The film accurately portrays the hostage-taking of Israeli athletes by Black September terrorists and the tragic outcome following a failed rescue attempt.

Historical accounts confirm Meir and the Israeli cabinet authorized a campaign of targeted assassinations against those deemed responsible for Munich.

While Mossad's Kidon unit carried out assassinations, the specific team depicted, its composition, and its leader (Avner/Aviv) are based on disputed accounts and likely heavily fictionalized.

Intelligence agencies often rely on unofficial, paid informants and networks; the depiction of using such a source is plausible, though the specific family is fictional.

Zwaiter was assassinated by Mossad in Rome in October 1972.

Hamshari was assassinated by Mossad in Paris in December 1972 using a bomb detonated via telephone call.

Al Bashir was assassinated by Mossad in Cyprus in January 1973 using a bomb planted under his hotel bed.

The raid occurred (April 1973) killing three PLO leaders. Ehud Barak (future PM) did participate. Avner's team's peripheral involvement as depicted is likely fictionalization based on the source material.

Mossad agents did kill innocent waiter Ahmed Bouchikhi in Lillehammer, Norway (July 1973), mistaking him for Ali Hassan Salameh. The film depicts this mistake and its fallout for the team.

Salameh was a top priority target for Mossad for years following Munich. Multiple attempts were made before his eventual assassination in Beirut in 1979.

The plotline involving the female assassin hunting the team is likely fictional, added for dramatic tension. While agents faced risks, systematic revenge killings targeting the specific team members are not confirmed by reliable sources.

While the specific dialogues are fictional, the film portrays a plausible psychological burden and moral ambiguity inherent in prolonged assassination campaigns. However, the extent depicted is tied to a disputed source.

This reflects the account of Juval Aviv in "Vengeance." Official sources do not confirm this narrative for any specific team leader involved in the operation.

The film effectively uses the (partly fictionalized) narrative to explore the complex themes of revenge, justice, and the potential futility of counter-terrorism through assassination.

This claim originates from the disputed source material ("Vengeance"). There is no independent verification for this specific outcome for the agents involved.

The film effectively captures the look and atmosphere of various European locations in the early 1970s, including architecture, vehicles, and street life.

The recreation of the Olympic Village setting during the hostage crisis appears authentic to the period and event location.

The depiction of Beirut before the major civil war reflects contemporary accounts of the city during the Operation Spring of Youth sequence.

Scenes set in Israel accurately reflect the period's atmosphere and environments relevant to Mossad operations.

The scenes showing Avner's later life in Brooklyn capture the look and feel of the borough during that decade.

The production design accurately reflects the clothing styles, vehicles, communication technology (payphones, landlines), and overall aesthetic of the early-to-mid 1970s.

While incorporating elements of real tradecraft (safe houses, surveillance, bomb-making), the film dramatizes methods for narrative effect. Some details align with known Mossad techniques, others are likely cinematic invention.

The film successfully conveys the tension, paranoia, and sense of vulnerability prevalent in Europe during an era marked by political terrorism and Cold War intrigue.

The use of anonymous hotel rooms, cafes, and public spaces for covert meetings reflects common practices in espionage.