In Good Morning, Night (2003), Marco Bellocchio re-imagines the kidnapping of Italian politician Aldo Moro by four members of the Red Brigades in 1978. The film makes extensive use of archival images, often unfolding on a TV set that broadcasts films, variety shows and – above all – news concerning the Moro affair. Occasionally, however, Bellocchio also uses other archival material that is not contemporary with the film’s action. These black-and-white excerpts do not emanate from the TV; they appear as part of dreams, visions or hallucinations. What do they signal?