Our rating: Theek thaak 🤷♂️
(4 more Phenyl shots ☠️ = unbearable; 90-min power nap 😴 = bad; Theek thaak 🤷♂️ = passable; Maza aaya 👌 = good; Thoko taali 👏 = great; Koi seekhiye inse 🤩 = brilliant)
The Legend of Ochi explores the evergreen theme of bonds between humans and fantastical creatures, a concept previously seen in films like Okja, Rise of the Planet of the Apes, Rampage, and King Kong. But let’s talk about Ochi first.
Set on an island in the Black Sea, the story centres on Yuri, a young girl living in a remote village encircled by forests and mountains — home to the Ochi, mythical creatures despised by the villagers. An Ochi resembles a hybrid of dog and ape, with Chihuahua-like mouths and bodies like primates.
Yuri belongs to a squad of adolescents tasked with hunting these creatures, a group led by her father, Maxim. During one of their hunts, a chaotic encounter leaves a baby Ochi injured and separated from its mother. When Yuri stumbles upon the abandoned creature and realises it poses no harm, she makes it her mission to reunite it with its mother.
In the film’s world, children are raised to fear Ochi and hunt them because the creatures are responsible for killing livestock and destroying livelihoods. The Ochi, however, are never shown directly harming other animals throughout the film. This gap left me questioning the credibility of the village folklore. I saw myself waiting – in vain – for a deeper explanation behind the man-animal conflict.
Yuri, as a protagonist, comes across as sketchy. Her actions fail to consistently define her personality. While she is initially eager to hunt the creatures, her sudden shift to compassion is abrupt. She is fearless in a quiet and unconventional way, but her recklessness at times feels frustrating. Rather than serving as a bridge between humans and the creatures, she feels more like a vehicle who’s only there to escort the baby Ochi back home.
What makes this film truly enjoyable is the baby Ochi itself. The creature is terribly cute – its button-like eyes remarkably expressive. The baby possesses an astonishingly quick ability to grasp. Almost sentient, it communicates through chittering sounds, even as an infan, often appears more perceptive than humans.
At best, the film is pleasant to watch. However, its simplistic portrayal is almost as if it’s made solely for children. Adults viewers may crave greater complexity in stories, characters and relationships, brilliantly captured in films like Okja and Planet of the Apes series. That said, if you’re someone who delights in simple pleasures — or plan to watch it with kids — this film is worth a look. Personally, while I appreciate intelligent creatures and was awe-struck by the film’s visual elegance, I left wishing for something more substantial to make my experience wholesome.
Directed by Isaiah Saxon, the film stars Helena Zengel, Finn Wolfhard, Emily Watson, and Willem Dafoe. The film is produced by A24, Access Entertainment, IPR.VC, Agbo Films, Saxon’s Encyclopedia Pictura, Neighbourhood Watch and Year of the Rat.
