Title: The Legend of Ochi
Author: Mark Hobin
Category: Adventure
Content:
Rating 7/10
On the remote island of Carpathia in the Black Sea, a shy teenager named Yuri (Helena Zengel) makes a courageous decision that defies the rest of the people in her centuries-old village. When she discovers a wounded baby creature deep in the forest, she chooses to help it—despite the community's fearful legends about the fabled beings that dwell in the mountains. The species, called Ochi, is a simian-like animal with large, expressive eyes and a gentle nature. As Yuri sets out on a journey to return it to its family, she not only ventures into an unfamiliar wilderness but also confronts the long-standing fears of her father, Maxim (Willem Dafoe), and an entire community steeped in mistrust. Yuri's journey is also one of reconciliation. Her family is fractured—father, Maxim, is terrified of the Ochi, and older brother, Petro (Finn Wolfhard), finds himself torn between obedience to their father and empathy for Yuri's cause. Further complicating matters is Dasha (Emily Watson), Yuri's estranged mother, who reenters Yuri's life after years of absence.
The Legend of Ochi marks the feature debut of director Isaiah Saxon. As a co-founder of the animation studio Encyclopedia Pictura, Saxon brings to the big screen the artistry that first earned him acclaim in the world of music videos. In particular, Björk's "Wanderlust" showcased his flair for surreal, handcrafted visuals. That same sensibility is present here, applied to a full-length narrative that leans heavily on atmosphere to evoke feeling. Saxon's aesthetic is a testament to the power of indie cinema. The picture unfolds with otherworldly vibes and a quiet, meditative rhythm. Though set in a mythical realm, it was shot on location in Romania, whose landscapes lend beauty to the surroundings. The fantastical elements seamlessly blend with a real-world setting to enhance a dreamlike quality. Saxon's worldbuilding is tactile. He embraces practical effects—expressive puppets, hand-painted matte backgrounds, and richly detailed sets—to create an environment that feels both lived-in and magical. The Ochi are enchanting; their delicate movements and melodic, trilling sounds bring the warmth of a fairy-tale to the misty habitat. It's easy to become entranced by their hypnotic tone and the overall milieu. A wistful undercurrent is further promoted by a score from David Longstreth, founder of the rock band Dirty Projectors. Longstreth's compositions blend orchestral swells with ethereal textures that serve the mood. The music, performed by the Vienna Synchron Orchestra and Choir, carries the emotional weight in a screenplay where talk is sparse. Old-school craftsmanship and a modern indie spirit combine in this transportive experience—one that causes the viewer's mind to wander. Mine drifted to memories of
The Dark Crystal,
The NeverEnding Story and, of course,
E.T. the Extra-Terrestrial—the greatest child-and-alien bond ever committed to film. And there is plenty of time to meander. This is, at its core, a deliberately paced production. The plot is minimal, and there are long stretches with no dialogue. What little there is often difficult to understand. The sound mix sometimes renders voices muffled. Though they speak English, captions in the same language would have been a welcome addition. The almost nonexistent narrative might not satisfy viewers seeking action or conventional dramatic arcs. Yet
The Legend of Ochi offers something more introspective: a tale about compassion with atmosphere and mood. The pictorial storytelling invites us into Yuri's inner world. We feel her isolation. She yearns to do what's right—even when no one else understands. Director Isaiah Saxon's debut may not match the scale of the great fantasy epics of the 1980s, but it carries the torch of their spirit. 04-21-25
