Photo credit: www.thewrap.com
The Enchantment and Disenchantment of “The Legend of Ochi”
Isaiah Saxon’s “The Legend of Ochi” presents a curious fantasy tale centered on the scruffy protagonist who leads a solitary young girl on an enchanting adventure. The film is a showcase of remarkable craftsmanship and inventive puppetry that could offer a visually stunning cinematic experience. Yet, despite these creative efforts, there remains a palpable sense of emotional detachment throughout the film.
Making its debut at the Sundance Film Festival and produced by A24, the film attempts to tug at the audience’s heartstrings, though not always successfully. Saxon’s narrative struggles to unify its aesthetically pleasing components into a coherent and emotionally engaging story.
The film is not lacking in ambition; the detailed craftsmanship brings a vibrant life to the already familiar story arc present in “The Legend of Ochi.” Viewers may appreciate the rich textures and intricacies involved in creating the fantasy world. However, the overarching journey proves elusive, leaving audiences longing for a deeper connection that the film fails to provide.
Set in the fictional land of Carpathia, the story unfolds in a lush, magical setting where fantastical creatures inhabit the greenery. The film follows the young protagonist, Yuri (played by Helena Zengel), who feels stifled by her hyper-masculine father, Maxim (Willem Dafoe), who yearns for a son and is fixated on hunting the mythical creature known as the Ochi. An early scene poignantly illustrates his narrow focus, which leads to a rift when Yuri encounters an endearing baby Ochi and decides to embark on a quest to bring it home.
Yuri’s journey involves searching for her missing mother, portrayed by the underutilized yet skilled Emily Watson, while her father and his companions, including Finn Wolfhard in a minor role, clumsily track her down. As the adventure unfolds, Yuri develops a bond with the Ochi, yet the viewers’ engagement may wane as the narrative progresses.
Inspired by cinematic classics such as Steven Spielberg’s “E.T. the Extra-Terrestrial,” the screenplay shines in its intimate moments—like the initial interaction between Yuri and the Ochi—and shared familial revelations. However, the film often feels mechanical, proceeding from one visually engaging sequence to the next without allowing sufficient emotional resonance to develop. Each scene becomes a missed opportunity for the audience to fully immerse themselves in the narrative.
This emotional distance breeds a sense of melancholy. While the film offers a detailed portrayal of its environment, the underlying emotional layers remain sparse. The skilled effects artists create a visually captivating world, but it seems the story itself lacks clarity in its intention.
Many visuals feature whimsical framing reminiscent of Wes Anderson’s aesthetic, with one early scene set in a grocery store standing out. A potential thematic exploration of coexistence with nature adds depth; however, the narrative fails to forge a similarly harmonious connection. Significant moments toward the film’s conclusion feel hurried and lack the necessary space for development, resulting in a climax that, while sweet and predictable, feels rushed and unearned. Despite Dafoe delivering humorous lines with flair and Zengel showcasing her talent alongside the expressive puppetry, the overall film does not reach their level of excellence.
While “The Legend of Ochi” cannot be outright dismissed due to its noteworthy craftsmanship, audiences—regardless of age—can find enjoyment in the Ochi’s puppetry alone. Saxon’s potential as a director is clear, with a strong visual command evident throughout the film. Yet, despite the impressive effects, the narrative manipulation is visible, leaving viewers yearning for a richer journey alongside the beloved Ochi.
Source
www.thewrap.com