Yasmin van Dorp’s short documentary for The New Yorker opens on Norway’s star-dappled night skies and mountaintop vistas, then pulls back to reveal the crowds. Parents coax children onto Kjeragbolten for a photograph, assistants fluff formal gowns so their wearer looks windswept, and selfie sticks and drone controls fill the frame. What begins as landscape film turns into a study of contemporary tourism and the instinct to capture rather than look.
