In Andrei Tarkovsky's 1983 film Nostalghia, three women, a young boy, a dog, and a white horse are seen outside a Russian farmhouse. The camera pans past them and across the landscape, and these figure reappear in different locations as the camera moves. The simple camera trick, with the characters running behind the camera as it moves so they can reappear somewhere else without an edit, assumes a magical or metaphysical dimension in Tarkovsky's hands.

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Nostalghia forms the second part of a trilogy, alongside Stalker and The Sacrifice, that deals respectively with the aftermath, threat, and potential reality of a nuclear attack. As such, Tarkovsky's 'sunrise' holds a weight far greater than is implied by the pastoral scene.