Abstract
The importance of naming, applied to cinema subjets, is clear in director Marco Bellocchio’s cinema about terrorism and about the Moro case in some key films on the subject, such as L’ora di religione and Buongiorno, notte. Through some strategic choices regarding the naming, applied to literature which works as halfway ring of a chain of sense, the author can say something otherwise inexpressible or dangerous and can offer information or circumstantial, considerable and valiant clues which make films become an important text contributing to the inquiry and shadding a light on Italian political misteries as well.