On a jaggedly rocky peninsula in Norway, slapped by ocean waves and glowered upon by darkly sprawling clouds, a woman in a simple white dress and sunhat makes her way along a stone path slashed and cracked over centuries by the elements. Not for the first or last time, she carries with her a large muslin sack, and once she reaches the end of the headland, she proceeds to empty its contents — scattering what look to be thousands of pale mineral flecks over the rocks and into the sea. They rattle and bounce, settling into crevices or riding the water, freed into severe environs where their place isn’t immediately clear. In “ Trillion ,” the latest ravishing study of land, water and living hierarchies from Russian-born docmaker Victor Kossakovsky , the panorama is spectacular, but it does

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