When you want to express longing, freedom, and a lingering feeling with a figure left as only a black outline against the sky at sunset. StudioBinder names Terrence Malick as a director who uses golden hour well and gives the magic hour scenes of Days of Heaven as an example.
According to Wikipedia, a large part of this film was shot during magic hour. Cinematographer Néstor Almendros said that this time is really 25 minutes at most, so they could shoot only a little over 20 minutes a day, but it paid off on screen.
To recreate it: Make the start frames from the same sky image so the sun position and sky color don't change from shot to shot.
According to Wikipedia, most scenes were shot in late afternoon or after sunset, so the sky turned the actors' faces into silhouettes.
To recreate it: Be sure to write 'silhouette, the subject is a dark shape against the sky' so the AI doesn't draw faces in bright.
StudioBinder explains that golden hour light is good for backlight, rim light, and silhouettes, and at 0:28 in the video too, the edges of wheat ears with the low sun behind them glow.
To recreate it: Pin the sun's position behind the character with 'low sun directly behind, glowing rim light on the edges'.
According to Wikipedia, interior scenes with outside light coming in were shot with artificial lighting so that the light stayed constant.
To recreate it: For interior shots, write the sunset outside the window as the source of light, like 'warm sunset light coming through the window', to match color with the outdoor shots.
From 0:08 to 0:17 in the video, the sky takes up most of the frame, and the figures and the mansion remain only as small black outlines above a low horizon.
To recreate it: Place the horizon in the lower third of the frame and write 'vast sky filling most of the frame', and the longing and lingering feeling grow.
Cinematic multi-shot sequence, 15 seconds total. Shot 1 (4s): static extreme wide shot of a teenage boy and his grandfather as black silhouettes on a grassy hill against a huge orange and pink sunset; Shot 2 (4s): static telephoto shot of the two silhouettes walking left to right along the ridge in front of an enormous setting sun; Shot 3 (3s): static slow-motion close-up of the grandfather's weathered hand on the boy's shoulder, rim light on its edges; Shot 4 (4s): low-angle tilt up slowly following a paper kite the boy releases, rising as a dark silhouette across the glowing sky. Consistent boy and grandfather, golden hour backlight, warm faded nostalgic film colors, bittersweet tenderness.
Erase the face and leave only the outline, and the audience fills in their own memories there, making the emotion bigger. Low warm light, long shadows, and slow movement create the wistfulness of a day coming to an end.
Extreme wide shot of a teenage boy and his grandfather standing on a grassy hill, both reduced to black silhouettes against a huge orange and pink sunset sky. Static camera, sun low behind them, warm golden haze, nostalgic film colors, gentle longing.
Telephoto shot of the two silhouettes walking slowly from left to right along the ridge in front of an enormous setting sun. Static camera, compressed background, golden backlight, heat shimmer, soft grain, warm nostalgic film look, quiet companionship.
Close-up of the grandfather's weathered hand resting on the boy's shoulder, its edges glowing with warm rim light as dust and seed fluff drift through the low sun in slow motion. Static camera, shallow focus, golden backlight, nostalgic film grain, tender warmth.
Low-angle shot as the boy releases a paper kite into the wind and it rises as a dark silhouette against the glowing sky; the camera tilts up slowly to follow it. Golden hour backlight, soft lens flare, warm faded film colors, free and bittersweet.
Overlap shots softly with 0.8-to-1-second dissolves, and lay wind sound and one quiet piece of music as a sound bridge all the way through. Don't show the whole process of the sun setting. Join shots so that only the color of the sky gradually deepens, using time compression and ellipsis to fit minutes into seconds.
A silhouette is a good choice for avoiding AI's weakness of faces changing from shot to shot, because the face isn't visible. Make the start frames based on the same sky image so the sun position and sky color don't differ from shot to shot, and be sure to write "silhouette, subject is a dark shape" so the face doesn't come out bright. Sunset gradients easily develop banding when compressed, so make sure banding is prevented before you export.