Elektroničke vještice / Electronic Witches, a film by artist Maja Čule, carries the weight of something lived—its sense of distance, displacement, and chosen connection is deeply personal, yet recognizable to anyone building a life across places on their own terms.

Screened at Anthology Film Archives, the film follows Neda, a recent arrival to New York, as she builds a life in fragments—sharing an apartment with a roommate, navigating unstable work, and regularly FaceTiming her father in Croatia. During a late-night stretch of internet browsing, she comes across Elektroničke vještice, a queer cyberfeminist group of activists who, during the Yugoslav wars, taught women across Croatia, Bosnia and Herzegovina, and Serbia how to use computers and the internet. There is an undertone—particularly in the film’s visual language—that these efforts might have been perceived by society as disruptive, even threatening, almost like a virus moving through the system.

The soundtrack weaves together Yugoslav songs of that era with electronic elements that feel equally of that moment, shaping the atmosphere and holding the film somewhere between memory and the present.

The story unfolds without insisting, allowing the threads of distance, connection, and memory to take shape. It arrives at a sense of recognition, the beginnings of intimacy, and a gradual settling into place.

Throughout, Neda wears a silver necklace by Jelena Behrend Studio, appearing across moments and places as something carried—part of her presence.

Still from Elektroničke vještice (2026) by Maja Čule. Courtesy of the artist.

Maja Čule's Instagram: @female_gayze

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Elektroničke vještice / Electronic Witches (2026)

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