More precisely, he insists on the fundamental role of the sudden appearance of the rain that literally ‘irradiates’ the frame with an inexplicable but vibrating light. The rain becomes a ‘golden rain’, similar to the golden background of the icons, and transcends the cinematic image until a real transfiguration arises. Tarkovsky’s cinematic gesture in this shot is then similar to the one of religious painters. But Tarkovsky creates a specific cinematic icon since the icon appears within a temporality. The creation of the icon, its appearance within the shot, coincides with the time of the vision. By doing so, Tarkovsky.
