Hannah Van Hove (1987) is a Belgian researcher and writer living in Brussels. She completed a PhD on the fiction of Anna Kavan, Alexander Trocchi and Ann Quin at the University of Glasgow in 2017 and is currently conducting postdoctoral research on the work of British post-war experimental women writers at the Free University Brussels. She has published articles and reviews on British avant-garde fiction as well as translations of Flemish modernist Paul van Ostaijen’s poetry. Her poems and writing have appeared in Adjacent Pineapple, Gutter and MAP Magazine.
The juxtaposition of images shows a spiritual coherence to which we as viewers must work towards. In De poes [The Cat] (1968) van der Keuken articulates it thus: “The film could be a means for change. To this end it must affect the fixed patterns of expectation. To this end it must create a dynamic balance of the forms in which our reality can be described. Art could be a means by which to set man free. A school for seeing the self and the other more clearly.”
Paul Greengrass: “When we started the film, it was a top priority for me to look into this issue in every detail. […] we researched the background of the Maersk Alabama highjacking in exhausting detail over many months. […] And I’m 100% satisfied that the picture we present of these events in the film, including the role playing by Captain Phillips, is authentic. […] the facts are clear. Captain Phillips’ ship was attacked, and the ship and the crew and its cargo made it safely to port with no injuries or loss of life. […] That’s the story we told, and it’s an accurate one.”