ABSTRACTThis article introduces the use of music in Adam Curtis' documentary films, focusing on The Power Of Nightmares (2005) and All Watched Over By Machines of Loving Grace (2011). Curtis' work is notable for its use of found footage and archive material, as well as an eclectic range of pre-existing musics from cinematic, popular, industrial and classical sources. Music is not used as a passive accompaniment to on-screen events; it takes an active role in directing the documentary narrative. This article argues that deciphering the uses of music in these works is key to understanding Curtis' authorial intent.