Editing cannot determine the rhythm, it is just a feature of style, because regardless of whether there is editing, the film has a real sense of passing time. The rhythm of the film is a sense of time flowing through the screen, and it is this sense of time. This pressure created by the time flowing through the film creates the rhythm of the film. Tarkovsky’s aesthetic concept of "time flow" is manifested in the use of long shots in his works. His long shots seem tedious and tasteless, but the meaning of the director's expression is hidden in it, and there is a strong inner tension and passion inside the picture. As Robert Bresson said: "Slow movies, everyone runs and gesticulates. Fast movies, people almost stand still." The
most typical example is the nine-minute long shot at the end of "Homesickness" . The male protagonist holds the candle and walks forward slowly and hard. He carefully guards the faint candlelight of the candle. He repeatedly walks to the center of the pool and then the candlelight goes out, and then restarts until he reaches the other end of the pool. The camera moved slowly with him, or moved forward or backward, without any camera switching. This lens language makes people stare with breathlessness, and the audience's eyes are closely focused on the burning candle in the male protagonist's hand, making the entire course of action full of ritualistic meaning.
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