The analysis about a shot especially significant of the cinema by russian director Andrej Tarkovskij, contributes to make clear the principle of his sophisticated cinematografic technique along with the very personal representation of style and themes. It’s the image proposed at 45’07” of italian version of Nostalghia, the so-called «italian film» of 1983 – filmed in Tuscany (Monterchi, Bagno Vignoni, the uncapped abbey of San Galgano) and Rome (Campidoglio and equestrian statue of emperor Marco Aurelio) – based on the poignant feeling of melancholy restlessness for far home. Definitely geared in the sense of author cinema and spiritual art, autobiographical and chromatically lyrical in developments of the narrative on the visual mode of Time, of Memory and of the claim of an «anti-reason» feeding Poetry in radical opposition to an inadequate Reason obtusely too materialistic of western society, the film is the penultimate tarkovskian masterpiece before the testamentary «crazy» Sacrifice (1986) and subsequent the apologue-invocation of Stalker (1979), against censorship, gulag and the anguish post Cernobyl: the dramatic sign of the abandonment of the loved russian heimat.