THE LEGEND OF OCHI (2025) review
written by: Isaiah Saxon
produced by: Richard Peete, Traci Carlson, Isaiah Saxon, and Jonathan Wang
directed by: Isaiah Saxon
rated: PG (for violent content, a bloody image, smoking, thematic elements, and some language)
runtime: 95 min.
U.S. release date: April 18, 2025
Perhaps what can be most appreciated about “The Legend of Ochi” is that it harkens back to when family-friendly fantasy movies were commonplace at the multiplex. This unique A24 feature brings to mind the Amblin Entertainment days of “E.T.”, a touch of Jim Henson magic (think “The Dark Crystal”), and the world-building of “The NeverEnding Story”, all of which were targeted, yet not limited to, young minds of the 80s. In his feature debut, American writer/director Isaiah Saxon has created a fantasy adventure that may wind up as timeless as those classics, with the quirk of Taika Waititi’s underrated “The Hunt for the Wilderpeople” and the spirit of Hayao Miyazaki. While those influences come to mind, Saxon has simultaneously rendered a charming and imaginative tale that feels all its own, incorporating puppetry and animatronics with rich matte paintings and subtle CGI.
The story is set on the fictitious island of Carpathia in the Black Sea, a place of dense forests and broad mountains, and home to humans and creatures, specifically the mythic primate-like Ochis. The fuzzy, orange, and blue creatures resemble tarsier monkeys and lemurs, with oversized ears, big eyes, and long tails. While the reclusive creatures appear adorable, they have been hunted and killed by humans for generations, which has led to an ongoing feud.
Maxim (Willem Dafoe) is one such hunter. He is a driven man who leads local adolescent boys on missions to the forested mountains in a sort of male rite of passage. In this group of awkward youths is his son, Petro (Finn Wolfhard), a quiet young man who has seemingly adopted his father’s passion for the hunt. Maxim’s teen daughter, Yuri (Helena Zengel), also tags along on these missions, but she’s not as gung-ho as everyone else. Maxim’s drive comes from believing that the beasts are responsible for his wife, Dasha (Emily Watson), leaving their family.
During one particular hunt, which opens the movie, Maxim winds up grazing one of the larger Ochi, separating it from its young offspring. While checking traps laid out in the forest, Yuri encounters the Baby Ochi, whose leg is caught in a trap. She releases it and takes it back home to her room, where she applies first aid care to the scared critter and the two make an unexpected, albeit natural, connection. Already fed up with her father’s obsession and philosophies, Yuri decides to take off into the wild to deliver Baby Ochi back to his clan to embark on a journey of discovery.
Saxon’s screenplay deftly balances oddness and humor with tenderness and wonder, while taking all characters and situations seriously. Some lines of dialogue are delivered with unexpected comic timing that feels like a conversation cut out of a Wes Anderson film, but most of the humor comes from funny situations. One such situation occurs when Yuri makes her way to the town’s grocery store with Baby Ochi in tow; shenanigans inevitably follow when the pair steal a vehicle before scurrying back to the forest. The connection Yuri makes with Baby Ochi is convincing in that it’s gradual, with the girl earning the creature’s tentative nature, and, in a refreshingly imaginative (and funny) sequence, the two find a way to speak the same language.
Yuri typically remains silent, and when she does talk, it’s usually in soft mumbles (making it hard to understand what Zengel is saying, at times). One gets the idea that she often drowns out her environment by cranking death metal in her room. Finding and befriending Baby Ochi becomes her thing, something that Maxim or any of the boys have not yet experienced, and that’s something of an awakening for the girl. Saxon delights in playfulness between these two characters, some involve Yuri donning fake fang teeth to spar off against Baby Ochi’s initial hissy fang-baring out of fear and self-preservation. Saxon allows many wonderful character beats between these two that are needed for viewers to get invested in their relationship.
It’s not at all hard to get invested in Baby Ochi, and much of that has to do with the species’ wonderful character design. A fantastic mixture of outstanding puppetry and animatronics makes Baby Ochi come to life, but the movement and body language are so seamless that you almost forget what’s behind this adorable creature (that is, if you know about it while watching). A distinctive vocal language was also created for the creatures, and the description of how and why they communicate in such a manner is explained by Watson’s Dasha. Yuri’s mother has spent years tending sheep in the mountains and returns to her life in a meaningful way.
On that note, Maxim and Dasha’s reunion is great to watch, primarily because Dafoe and Watson are so great together. There are enough hints and small details about their history together mentioned, which involve Dasha’s wooden hand and possibly how their own Ochi obsessions—his hunting and her extensive studying of their behavior – broke their union. Both Dafoe and Watson embody their roles with such commitment and unique nuances that I found myself wanting to know more about them.
“The Legend of Ochi” reminds us of the importance of sound and vision in fantasy movies without heavily relying on CGI. While these tools are used here – every shot of Baby Ochi is ultimately a VFX shot – it’s never in an obvious manner, often augmenting practical locations with impressive matte paintings. Saxon, who has directed stylish music videos for the likes of Björk and Panda Bear, has a visual arts foundation involving drawing, designing, and sculpting, and that, combined with his writing and editing knowledge, brings a memorable sensory experience on the big screen.
Much of the film was shot nearly four years ago in Romania, with parts in Transylvania and the Apuseni Mountains. Cinematographer Evan Prosofsky beautifully captures the richness of the landscape, resulting in a richly cinematic effort. The overall mise-en-scène of “The Legend of Ochi” hooks viewers, and the endearing quirky characters (including Baby Ochi) keep us invested. There may be a straightforward story here about a fractured family needing repair, but what’s so memorable is how the story is told.
Another memorable aspect of the film is the score by American composer David Longstreth, primarily known as the lead singer and guitarist in the band Dirty Projectors (a new song by the band “Through the Long and Lonely Night” is included). The music almost has an otherworldly feel, combining orchestration with prominent woodwind and stringed instruments. Longstreth’s music is integral to Saxon’s storytelling and is definitely worth revisiting on its own.
I’ve seen “The Legend of Ochi” twice now and can attest that it’s worthy of multiple screenings on the largest screen possible. This is an impressive film debut from Saxon, and I’m looking forward to seeing his future work. It makes me glad that a PG-rated movie that’s this imaginative and fun is out there for viewers to discover. For what it’s worth, I’ll easily take Baby Ochi over Grogu in a heartbeat.
RATING: ***
