The logline to Maja Holand’s Hex is as enticing as it gets. ‘In the heart of Norway’s black metal scene, a new force suddenly emerges,’ the synopsis reads. ‘Three young women have entered into a three-year pact where they will devote their entire lives to awaken the world, each other and themselves as witches…and start screaming.’
The world of black metal is highly male-oriented, but this is no obstacle to Nikoline, Victoria, and Johanna, who are determined to break the mould, despite never having played a musical instrument before. They call themselves Witch Club Satan, and determine “to use their music to express women’s raw, hidden powers and to scream the screams of all women.” And to succeed in this, they invoke the power of witchcraft…
Producer Mari Nilsen Neira explains the appeal of the project to audiences and professionals alike. “Witch Club Satan is not just a band — it’s a cultural phenomenon that challenges norms around gender, power, and performance. This project is vital because it gives a platform to voices that are too often marginalized: radical, queer, and feminist artists working within extreme music and performance art,” she says.
“For Nordic audiences, it taps into deep cultural traditions of mythology, nature, and resistance, while internationally, it resonates with ongoing conversations about identity, freedom of expression, and the role of art in activism,” she continues. “We’ve convinced investors by showing them that this isn’t just a music film — it’s a bold artistic statement with global relevance. The band’s growing cult following, combined with Maja’s distinct creative vision, gives the film both artistic credibility and market potential. Supporters recognize its uniqueness and cultural urgency.”
Furthermore, Nilsen Neira is looking to connect with partners who truly understand the film’s vision — whether that’s in the fields distribution, funding, or festival programming. “We’re looking for champions who see the project not just as a film, but as a cultural event in itself. We also hope to spark conversations – about radical art, freedom, and how the Nordic region continues to push creative boundaries.”
Nilsen Neira hopes to deliver Hex during the first quarter of 2026. “From a business standpoint, we’ve designed the project to be scalable and strategic. With strong partnerships in place, a realistic budget, and a clear path to both niche and mainstream audiences, the production plan balances risk with opportunity. The film’s hybrid nature – sitting at the intersection of music, art, and social commentary – makes it attractive to a wide array of platforms and funders,” she says.
“We are targeting top-tier international festivals that support boundary-pushing, genre-defying works — such as Sundance, CPH:DOX, Berlinale Panorama, Visions du Réel in Switzerland, and IDFA. Nordisk Panorama is a key part of that strategy, offering us vital exposure and industry feedback.”
“Beyond festivals, the film is well-suited for global streaming platforms with a focus on music, identity, and contemporary culture. We also foresee a strong life in the arthouse cinema circuit and through alternative touring screenings, potentially paired with live performances or talks.”
Filmmaker Maja Holand runs Norwegian production outfit HerStory together with producer Nilsen Neira. An experienced DoP, editor and colorist, Hex marks Holand’s directorial debut. “Maja brings a rare combination of artistic sensitivity and fearless storytelling,” says Nilsen Neira of her director. “She has a deep understanding of both underground subcultures and cinematic language, which allows her to approach the subject with authenticity and innovation. The HerStory visual style is poetic yet raw — perfectly suited to capture the world of Witch Club Satan.”
“Visually, the film blends cinematic realism with stylized ritual,” she adds. “Think chiaroscuro lighting, handheld intimacy mixed with staged tableaux — evoking a sense of sacred space within the chaos of live performance. There’s an intentional contrast between the rawness of the backstage world and the hypnotic, often surreal aesthetics of the band’s stage presence.”
“To capture the band’s inventiveness and dark humour, the film will lean into moments of irony, absurdity, and play — both visually and tonally. This humour is never at the expense of the subject, but rather a way of revealing their complexity. We want the audience to feel both unsettled and delighted,” Nilsen Neira underlines. “If people leave thinking differently about what a music documentary can be, we’ll consider it a success.”
