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‘The Legend of Ochi’ supplies creature comforts, tactile fantasy and a touch too much effort

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Immersing oneself in an enchanting movie realm can be one of the subtlest joys of cinema-going, with disbelief melting away as easily as a sweet dissolving candy. Achieving this effect can be quite challenging. Yet, among the diligent and committed magicians who’ve recently attempted it, first-time director Isaiah Saxon is undoubtedly one of them. With his film “The Legend of Ochi,” he delves into the realms inspired by Miyazaki and Spielberg (specifically the Spielberg of “E.T.” and “Gremlins”).

This story, a blend of craftsmanship in various forms – handmade, digital, and location-based – is meticulously crafted. Discerning where the breathtakingly realistic Carpathian landscape ends and the magical special effects begin can be a challenging task, although rewarding it may not always feel. The impressive talent of writer-director Saxon, while sometimes intense, might ultimately disappoint when seeking genuine emotions, once we’ve grown accustomed to the visual spectacle.

In the lofty peaks of their island settlement, Yuri (Helena Zengel) is considered an outcast within her family without a mother. Despite being a tender-hearted individual, she harbors a quiet disdain for the hunting lifestyle that her father Maxim (Willem Dafoe), who has a penchant for warfare and fetishistic objects, promotes. This way of life is also tolerated by Yuri’s older brother Petro (Finn Wolfhard). Raised with apprehension towards anything beyond their expansive farmland, Yuri has been taught to view the unknown with caution.

However, the real unease is reserved for the elusive, simian creatures known as ochi. Yet again, they managed to evade Yuri’s father’s hunt under the cover of darkness, with his peculiar entourage resembling a group of cosplay centurions, armed with rifles. This motley crew hailed from the locality. A night later, during their family meal, Yuri expressed her dry humor about the situation: “It’s absurd.

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Film director Isaiah Saxon initially gained recognition by crafting otherworldly music videos for artists like Grizzly Bear and Björk. For his first full-length film, an extensive crew assembled a mythical being using traditional methods.

Later on, Yuri discovers bear traps but instead finds a small ochi with a wounded leg huddled in a burrow. She carefully takes the frightened animal home, soothing its cries and squawks by nursing it gently. Moved to help, she decides it’s best to reunite her new companion with its family. Coincidentally, this kind act aligns with her desire to escape her gloomy and oppressive house. As the situation unfolds, the language barrier between them mysteriously disappears, and Yuri comes across an old, weathered Emily Watson, a solitary sheep-herder who happens to be an expert on ocis.

In many folk-fantasy films set within familiar surroundings, “The Legend of Ochi” tends to overexplain its magical creatures, a task that Watson finds himself burdened with. However, a more subtle narrative approach would have been preferable. This is because we can predict the direction this unique battle between humans and beasts will take – offering ecological messages about species coexistence and resolving parent-child conflicts through drama.

As a product of the music video realm, Saxon, much like Gondrys and Jonzes before him, shines in wrapping his ideas in eccentric humor, ambiance, and craftsmanship. The work of Evan Prosofsky, with his painterly approach to cinematography, lends a polished sheen to “The Legend of Ochi”, making it an eloquent demonstration of the tactile allure of puppetry as perhaps the most personal enchanting device.

Despite the movie’s conclusion, we’re struck by a fond appreciation for its quirkiness and creativity rather than emotional release, as much of “The Legend of Ochi” comes across as a performance instead of an immersive experience. The actors seem more like pieces on a board than fully-realized characters, the settings function primarily as backdrops rather than lived-in environments, and David Longstreth’s dynamic orchestral score, reminiscent of avant-garde John Williams at its finest moments, tends to be forceful instead of persuasive. It’s undeniably a cinematic treasure with a heartfelt message, but it falters when it comes to inviting us into its world.

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2025-04-18 18:01

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