LCC Graduates Join BAFTA Winner Penny Woolcock on the Creation of Kindoki Witch Boy: “They Were a Delight”

At seven years old, Mardoche Yembi was branded as possessed. What followed was two years of brutal exorcisms - rituals meant to drive out so-called ‘demon spirits’ but which left him deeply scarred. After his mother died in Congo, he was sent to live with relatives in London, where instead of finding safety, he endured relentless psychological abuse. Taken to church to be ‘cleansed,’ he was made to believe he was the problem.

In Kindoki Witch Boy, BAFTA-winning director Penny Woolcock and co-director Mardoche bring his story to the screen with unflinching honesty. “I could not let him down”, Woolcock says. The film follows Mardoche’s journey from years of abuse to finding solace with his foster mother. Released near the 25th anniversary of Victoria Climbié’s murder, it highlights the urgent need to address faith-based abuse in the UK.

Now 33, Mardoche dedicates his life to supporting young people in care and raising awareness of faith-based abuse. “He always felt that if he could tell his story, it would help other children”, says Woolcock. During the filming process, authenticity was paramount. “I made it a priority to listen to Mardoche”, says Qiqi Hou, the film’s 2nd Assistant Director. “I wanted to support him whenever he needed, during filming and beyond.”

For Qiqi and Julia Martin, both graduates of the MA Documentary Film at LCC,  Kindoki Witch Boy marked their first experience working in fiction. Qiqi, who had previously worked as a documentary director for television in China, was introduced to Woolcock through her course leader, Jeremy Williams. “I first met Penny through an online documentary workshop for refugee journalists in Uganda”, she says. After assisting in the workshop, she was invited to join the film.

Qiqi’s role was pivotal - coordinating daily shoots, managing call sheets, and overseeing logistics for cast and crew. She worked closely with the production team, actors, and local community members. “My focus was on fostering genuine connections, ensuring that collaboration was built on care and mutual understanding”, she says.

Julia joined as the film’s sound recordist on Qiqi’s recommendation. With a documentary background like Qiqi, this project was a new challenge. “The film is scripted but was shot like a documentary”, she says. “A small crew on location, working with actors and non-actors.” This hybrid approach allowed both filmmakers to apply their UAL documentary experience, merging realism with fiction.

Julia’s time at LCC prepared her for handling the emotionally heavy material of the film. “My background in documentary really helped”, she says. “With the film based on real events, I wanted to ensure authenticity and respect remained central.”

Kindoki Witch Boy was a deeply collaborative project, involving the local community at every stage. For Qiqi, it was an immersive experience. “It was only my second year in the UK”, she says, “Being fully engaged with a local community made the atmosphere incredibly personal and collaborative.”

Filming took place across North London, in the very streets where Mardoche endured abuse as a child. “It’s so tangible because it happened in my neighbourhood, Islington. I know people who were there”, says Woolcock.

Shooting on location brought challenges, particularly for Julia, who handled sound alone. “I was constantly scanning for clean frequencies while booming everything myself - even in fast-moving scenes across football fields and busy streets”, she says. “But that’s exactly why I love working on projects like this - it’s what makes the work interesting.”

For both filmmakers, working on Kindoki Witch Boy was an opportunity to apply the skills they honed at LCC. “My time at UAL taught me how to work in small crews and find solutions on the fly, which is something I had to do regularly when shooting the film”, says Julia.

Qiqi credits LCC with reshaping her approach to filmmaking. “UAL taught me that caring for people comes first, and their stories follow”, she says. “I learnt to always ask myself why I need to tell a story and whether I am the right person to tell it. One of the most important lessons I learnt there was to say yes to new opportunities!”

Both Qiqi and Julia spoke of the privilege of working with Woolcock, whose reputation for bold, socially engaged storytelling left a lasting impression. “She is a total force”, says Julia. “It was incredible to work under her precise and considered direction. This was a truly independent film, and I was struck by the sheer number of people - friends, fellow filmmakers - who showed up to support her. It’s a testament to who she is as an artist and a person.”

“Both girls were an absolute delight to work with”, says Woolcok. “They worked so hard and couldn’t have done a better job.”

For Qiqi, the experience was transformative. “Meeting and working with Penny has solidified my passion for independent filmmaking”, she says. “She showed me that fiction and documentary can coexist. Her guidance has been invaluable - not just during Kindoki Witch Boy, but in shaping my journey as a filmmaker.”

Find Links to Qiqi and Julia's work here:

• Qiqi’s graduate film ‘My Mum Rita’,  nominated for the Royal Television Student Awards and shortlisted for the Griersons.

• Qiqi’s Website & Portfolio

• Julia’s Website & Portfolio