The Legend of Ochi
An instant modern classic
The Legend of Ochi feels completely at home among Scandinavian or Russian folklore, I was surprised to learn it is an original story conceived by writer and director Isaiah Saxon. Saxon has managed to create a film that is both unique and innovative, as well as instantly timeless and nostalgic. Thanks to his use of puppets, practical effects, and real locations, Saxon has crafted a magical storybook-like atmosphere for his beautiful puppets to inhabit, resulting in an effect that is realistic enough to work within this world despite the stiffness of the puppets’ movements.
The Island of Carpathia, although fictional, feels anything but. Situated in the far north, presumably somewhere in the Black Sea, the town remains largely untouched by modern technology or the outside world. The dated trucks, boomboxes, and remote living could place this film in the 80s or today—it’s hard to say, but I think that’s part of its charm.
Yuri (Helena Zengel) lives on this island with her father, Maxim (Willem Dafoe), his adopted son, Petro (Finn Wolfhard), and an unruly gang of boys Maxim is training into a makeshift army. However, Carpathia is also home to a mysterious group of creatures that have been at war with the humans for as long as anyone can remember. Maxim is on a mission to find and kill as many of these monsters, the Ochi, as he can using his army of young boys.
Yuri struggles to find her place among this odd found family when one day she discovers an injured baby Ochi in the woods. She vows to bring it safely home despite having no idea where its home is. After a chaotic sequence in a grocery store in which Yuri is bitten and a comically slow carjacking scene, Yuri and the baby Ochi retreat back to the woods. Here, Yuri is found by Dasha (Emily Watson), a remote farmer who is the exact opposite of Maxim, showing great respect for the Ochi and dedicating her life to studying them.
Zengel often plays the sole human in a scene, but with her understated charm and chemistry with the lost Ochi, she captivates from start to finish. It’s a significant challenge for a young actor (Zengel was 12 at the time of shooting), but she delivers a stunning performance. I often forgot she wasn’t an adult, but my favorite scenes were the ones that reminded me that Yuri is just a kid trying to do what she thinks is right.
While The Legend of Ochi is visually breathtaking and rarely seems to falter, it may have reached some of its artistic greatness at the expense of character development. Saxon sets up a beautiful story about finding where you belong and your true family, but fails to explore these relationships and emotions deeply. Although culminating in a satisfying ending, Yuri’s story could have struck a more emotional chord had we been given the opportunity to connect more with the characters.
Still, it’s a flaw I’m nearly willing to overlook in light of the whole picture. The Legend of Ochi is a magical, heartwarming story about finding your place in this world, and Saxon has, in my opinion, created a modern classic.
