‘The Legend of Ochi’ Review: Practical Magic Breathes Life Into A24’s Grounded Fantasy Preaching Man’s Coexistence With Nature

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In a fantastical setting, there exists a creature known as the Ochi. These furry beings resemble monkeys, boasting orange-tinted coats, distinctively large ears, and enormous dark eyes that seem to belong in sci-fi universes like “Star Wars” or “Avatar,” or perhaps in timeless classics such as the “Gremlins” series. However, unlike organic creatures, the Ochi from “The Legend of Ochi” are not real in a biological sense; instead, they are intricately designed puppets, meticulously crafted to roam through the vibrant greenery of Carpathia – a fictional island nestled within the Black Sea where ancient traditions and modern advancements intersect.

A24’s film, “The Legend of Ochi,” showcases the creative vision and technological expertise of writer-director Isaiah Saxon on a grander scale. Notable for his captivating work on Björk’s “Wanderlust” music video, Saxon leverages the visual prowess honed by himself and his Encyclopedia Pictura team over two decades. Their unique blend of traditional craftsmanship with modern technology results in a breathtaking spectacle. This fantasy unfolds as an exploration of human ambition to control nature, when our true aim should be learning from its wisdom. The movie exudes a sense of awe in every frame, largely due to the stunning landscapes created by Evan Prosofsky’s radiant cinematography and matte paintings.

One night, flames consume the woods, and Maxim (played by Willem Dafoe), who serves as a sort of protector for the village, along with his band of child warriors armed with guns, modeled after him, pursue the Ochi, beings blamed for the disappearance of livestock. Their youth recalls Peter Pan’s Lost Boys. Yuri (Helena Zengel), Maxim’s adolescent daughter, feels detached from this violent lifestyle and doubts its necessity. When she encounters an injured Ochi child, she decides to undertake a dangerous journey to reunite it with its mother, echoing the plot of Steven Spielberg’s timeless film “E.T. the Extraterrestrial,” while also hinting at elements from “The NeverEnding Story.

The design of the toy named Ochi, resembling a mix between Grogu (also known as Baby Yoda) and a porg from recent Star Wars productions, effectively portrays a wild adorableness. It’s cuddly enough for hugging, but its fang-like teeth serve as a deterrent to potential predators. Yuri attempts to connect with Ochi on an instinctual level using fake vampire teeth. However, she figures out how to interact with it more effectively after finding the right approach.

As a movie critic, I found myself deeply moved by the captivating performances in “News of the World.” The young prodigy, Zengel, brings an authenticity to her roles that seems as if she’s stepped straight out of Nordic mythology. Her previous works like “System Crasher” have showcased her ability to convey intense emotions, and here she does so once again, using the openness and fearless innocence only a child can portray.

On the other hand, DiCaprio, with his imposing presence, delivers a performance that oozes the usual macho flair one associates with him. Dressed in full armor at one point, he embodies a man who regrets not having a son. His closest apprentice, Petro (played by Finn Wolfhard in a minor role), fills this void.

In this story, the selfless goal sets up Yuri against the resolute character Dasha (Emily Watson), who spent her life studying the unique language of the Ochis through sound. Maxim adheres to outdated beliefs, whereas Dasha bases her understanding on scientific research. However, only Yuri shares a deep spiritual connection with the Ochis. In contrast to the ’80s movies that appear to have inspired Saxon, both in terms of theme and the creative ingenuity of its world and creatures, “Ochi” doesn’t flinch from the potential for genuine violence. Although the narrative leans on the conflict between opposing forces reaching a climax through Yuri’s brave act of compassion toward the Ochis, it emphasizes the idea of humans living harmoniously with nature.

In an unusual move for this genre, Saxon refrains from endowing the character Ochi with supernatural powers. Instead, young Ochi is unable to heal Yuri when she’s hurt. The Ochi species doesn’t display any bewildering strength or other extraordinary abilities, save for their unique talent of creating a sonic bond with one another through song, much like many animals found in nature do. This narrative choice aligns with Saxon’s philosophy of employing genuine skills such as sculpting, puppetry, and painting rather than relying solely on computer-generated effects to achieve their ambitious aims. The Ochi’s sounds harmonize beautifully with David Longstreth’s captivating score, which seems so ethereal and otherworldly, as if it were actually recorded in a forest. This score is likely to be one of the most memorable for a film this year.

In “The Legend of Ochi,” the movements of the arms and hands seem incredibly lifelike, making it appear as if Ochi is truly present. However, the facial expressions, particularly the eyes, are so strikingly real that one might question if they were created digitally. As you delve deeper into the production’s details, it becomes clear that “The Legend of Ochi” is an astonishing example of practical magic at work. According to the press releases, no computer-generated imagery (CGI) was utilized; instead, close-ups of baby Ochi were achieved by numerous performers manipulating a physical puppet on set. This is why, when the trailer initially released and viewers accused the film of using generative AI, Saxon felt compelled to clarify that “Ochi” is as far removed from AI as one could imagine.

If “The Legend of Ochi” doesn’t reshape the fantasy genre, it certainly has the potential to reintroduce tangible cinematic magic to a generation that is used to digital enchantment in movies. With its distinctive lore and style, Saxon manages to steer clear of creating a cliché tale. “Ochi” leaves one wondering, “How did they pull this off?” followed by even greater astonishment when learning the methods used. This is cinematic sorcery at its finest.

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2025-01-27 04:17