Review
The Legend of Ochi (Fantasy, Adventure) (2025)
Director: Isaiah Saxon
Writer: Isaiah Saxon
Stars: Helena Zengel, Finn Wolfhard, Willem Dafoe, Emily Watson
Somewhere on a secluded island, creatures known as the Ochi are hunted by man. A girl rescues a youngling, hoping to bring it back to the safety of its kin on a journey of reunion and understanding.
Based on his own original story, The Legend of Ochi marks Isaiah Saxon’s feature debut, premiering at the Sundance Film Festival and receiving a limited release in New York. To faithfully realise its fictional setting, it was shot in Transylvania, employing many techniques, such as puppetry and matte paintings, which were once the standard for features of this kind. The film was produced by AGBO, Neighborhood Watch, Encyclopedia Pictura and Year of the Rat while being distributed by A24.
On the remote island of Carpathia, human inhabitants have hunted primate-like creatures known as the Ochi for decades. Gathering a hunting party of young boys and his only real child, a daughter in Yuri (Helena Zengel), Maxim (Willem Dafoe) often ventures into the uncharted parts of the island, leading them in pursuit of these beings while convincing them of danger. After becoming separated, Yuri finds a young Ochi, hidden and injured. Nurturing its wounds, she becomes determined to reunite it with its family.
Clearly inspired by much older movies of its kind, Saxon positions The Legend of Ochi betwixt grandiose epics and arthouse sensibility. Through deliberate choices, it allows the viewer to think and arrive at their own conclusions ahead of its apex, remaining stylistic, unique, and somewhat of a departure from the usual A24 features we are accustomed to.
Whereas our initiation into this world feels masculine and domineering, our perspective soon shifts, as Zengel’s Yuri finds herself separate from the aggressive, secretly terrified men who inhabit it. Instead, she seeks to nurture and understand the beings that live alongside them. Learning about the Ochi and the world around her, her compassion shifts the perspective from destruction to understanding. In doing so, the core ideas shift, with a fear-driven mania guiding these male inhabitants and the young Ochi offering a fresh perspective on how these perceived threats are viewed.
These realignments of thought, feelings, and how the Ochi are viewed arrive late, as the narrative unfolds in an embroidered kaleidoscope of setting, principles, methods and fictional history. If we brush away this style—an indie near arthouse portrayal—and look purely at the condensed foundations, what stands out most are the creatures: practical puppets that are distinct and would fit comfortably into the Star Wars franchise, meant as a most complimentary comparison. Similar comparisons can be made with the outlandish Vesper, another limited-budget sci-fi feature, as both embrace an unapologetic sense of style and purpose. Within modern sensibilities of filmmaking, there is a widening of audience expectation and creative vision. The Legend of Ochi defines its own style, carving out a niche, and there are clear moments when genuine, simple human emotion is distilled; however, its avoidance of immediacy places it at odds with contemporary viewing habits.
Ultimately, Saxon’s debut polarises through its style and pacing, rather than its narrative ideas. However, it remains true to its identity and ambition, even if uneven in areas. The portrayal of the fictional Carpathia and its vaguely Orthodox–Russian inhabitants feels scattered, serving as a thematic backdrop rather than a fully realised setting beyond the creature plotline. Beloved by many, A24 has presented us with screenplay treasures, often honed and well-crafted; in that regard, The Legend of Ochi aligns in craft and emotion—yet it waits too long for an audience to grasp the essence.
Verdict
Misunderstood as legend, not misimagined.
6,5
