Witch Club Satan: Inside the Rise of Norway’s Feminist Black Metal Band
The Norwegian black metal scene is known for its intensity, its darkness, and historically, its overwhelmingly male presence. A new documentary, Hex, directed by Maja Holand, plunges into the heart of that world, following the formation and rapid ascent of Witch Club Satan – a band comprised of three young women who, remarkably, didn’t know how to play instruments when they formed. The film, which premiered at the Thessaloniki Documentary Festival on Friday, March 6th, and will screen at CPH:DOX in Copenhagen, isn’t just a music story; it’s a raw, visceral exploration of female empowerment, societal rebellion, and the very definition of “witchiness.”
Hex chronicles the journey of Nikoline, Victoria, and Johanna, who, in the spring of 2023, made a pact to start a black metal band. Their motivation wasn’t musical proficiency, but a desire to infiltrate a space historically closed off to them. As reported by Adressa, they “threw themselves into it with a violent will, frustration, power and rage.” The documentary captures their evolution from inexperienced novices to a band playing major international festivals, a trajectory that defied expectations and sparked both fascination and criticism.
From Underground Beginnings to International Stages
The film’s narrative isn’t simply a rise-to-fame story. Holand’s approach, as she explained to The Hollywood Reporter, was to delve into the personal journeys of each band member alongside the collective evolution of Witch Club Satan. She stumbled upon the band while feeling creatively stifled as a new mother, drawn to their willingness to embrace imperfection and their defiant energy. Holand initially reached out simply to inquire if anyone was documenting their story, and quickly realized she needed to be the one to tell it. What began as a potential cinematography project organically morphed into a directorial debut.
The documentary’s structure reflects this dual focus. Holand devised a unique visual device – a modern witch trial – to address the criticism and social media backlash the band faced. By staging a courtroom setting with “witnesses” presenting accusations, she found a way to visually represent the resistance they encountered and explore the historical parallels between contemporary judgment and the historical persecution of witches. This innovative approach, born from a jogging-inspired epiphany, allowed her to address complex issues without relying on standard interview formats.
The band’s rapid ascent is particularly striking. Within three years of forming, Witch Club Satan went from practicing in a basement to performing at the Roskilde Festival in Denmark in July 2025, as documented by Deadline. This swift trajectory, fueled by their unapologetic energy and feminist message, is a central theme of the film.
Navigating a Male-Dominated Scene
The context of Witch Club Satan’s emergence is crucial. Norway’s black metal scene, while internationally renowned, has historically been a bastion of male dominance. The band’s arrival challenged this status quo, forcing a reckoning with gender dynamics within the genre. As Holand notes, the band explicitly identified as a feminist project, using their music to express “women’s raw, hidden powers” and “scream the screams of all women.” This intentionality is a key element of the film’s exploration of societal norms and female empowerment.
Holand herself identifies as a feminist filmmaker, particularly given her perform with Herstory, a production company focused on amplifying female perspectives in film. She sees the band’s journey as a reflection of broader struggles for female representation and agency within the creative industries.
Beyond the Music: Defining Witchiness
The film similarly grapples with the concept of “witchiness” itself. Holand’s research into the historical witch trials revealed a surprising lack of understanding surrounding the subject. She came to view “being a witch” not as a negative label, but as an “honorary title” signifying the courage to authentically embrace one’s true self. This redefinition of witchiness is central to the film’s message of self-discovery and empowerment.
The documentary’s visual style, as hinted at in the exclusive first look provided by The Hollywood Reporter, is expected to be as raw and uncompromising as the band’s music. The film doesn’t shy away from the macabre and primal elements of black metal, but it also emphasizes the vulnerability and personal struggles of the band members.
Distribution and Festival Circuit
International sales for Hex are being handled by CAT&Docs, a Paris-based sales outfit. The film’s festival run is already gaining momentum, with screenings at the Thessaloniki International Documentary Festival, CPH:DOX in Copenhagen, and a world premiere at the Kosmorama film festival in Norway on March 2nd. This strategic festival circuit is designed to build buzz and secure distribution deals for wider release.
Holand’s future plans include a potential step back from directing to focus on cinematography, allowing her to collaborate with other filmmakers. However, she remains open to future projects that align with her cinematic intuition and passion for storytelling.
What’s next for Hex? The immediate focus is on maximizing its impact on the festival circuit and securing distribution agreements. The film’s success will likely hinge on its ability to resonate with audiences beyond the black metal subculture, appealing to those interested in themes of female empowerment, artistic rebellion, and the search for identity. Preserve an eye on CAT&Docs’ website for updates on release dates and territories.