First-time director Isaiah Saxon creates a mesmerizing world where puppetry and craftsmanship eclipse CGI. Willem Dafoe adds depth, while Helena Zengel grounds the film with raw emotion.
Rating: 
( 3 / 5)
By Mayur Lookhar
Anime icon Hayao Miyazaki, co-founder of Studio Ghibli, was livid upon seeing how AI could churn out animated images in minutes with a simple prompt for Ghibli style. The veteran animator and filmmaker called AI art an insult to life itself. Hours of toil, the pure joy of sketching—no AI can measure that.
Technology, though, will continue to upgrade itself. Many of the marquee comic strips have found their way into feature films, courtesy of CGI and live action. Amidst these times comes a filmmaker who chooses to bring puppetry to his maiden feature – The Legend of Ochi (2025). Growing up in Aptos, California, Saxon was enamored by tales of the Sasquatch in the Santa Cruz Mountains. “Deep inside me, I always thought there was magic and undiscovered primates out in the woods somewhere,” Saxon revealed in the run-up to his film, which released a week ago in the West and now comes to India on 1 May.
It’s no Bigfoot, but Saxon and his team create the Ochi—a mystical woodland creature, silent, watchful, and elusive—embodying both innocence and ancient power. Power or not, this little fictional primate species is as innocent as they come. The way it has been brought to life on screen, it’s hard to believe the titular character is puppetry, requiring seven artistes to create this cherubic primate.
Story
Shot in Romania, The Legend of Ochi is set on the fictional island of Carpathia. Maxim (Willem Dafoe), a grizzled Ochi hunter in Viking-inspired armour, leads a group of boys and his reluctant daughter, Yuri, on Ochi hunts. Maxim views the Ochi as monsters who kidnapped his wife. He has adopted Pedro (Finn Wolfhard) as his son and wants the other boys to follow in his footsteps.
Maxim and his team lay an ambush at an Ochi hideout in the Redwoods. They strike, but in the ensuing chaos, fail to capture most of their targets. Unfortunately, a young Ochi is separated from its mother. A day later, Yuri finds the Ochi, frees it from a leg-hold trap, and secretly brings the injured mythical primate home. She can’t hide it for long and flees home that night, vowing to reunite the Ochi with its mother.
Screenplay
Human–mythical creature bonds in cinema have existed since King Kong (1933). The mammoth creatures thrill, but it’s the small, endearing ones that forge lasting emotional connections. Steven Spielberg’s E.T. (1982) is considered a pioneer in this genre. Isaiah Saxon’s The Legend of Ochi follows this tradition, centered on a human–animal emotional bond. Though the plot feels familiar, it’s the visual artistry that sets the film apart in contemporary cinema. The use of puppetry for the titular character is astonishing, leaving you wondering how Saxon and his team pulled it off. It’s not all puppetry, though—animatronics, computer animation, and matte paintings also come into play. The Ochi’s secret paradise and environment appear to be crafted entirely from matte paintings. Though predictable and not as adventurous, it’s Saxon’s visual wizardry that grips you in every frame of this adventure fantasy drama, possibly making it a part of cinema folklore. The visual artistry, however, would be incomplete without the human values of compassion, coexistence, and conservation that this film champions.
Acting
Willem Dafoe is no stranger to playing sophisticated characters, and his portrayal of Maxim adds another to his list. Bull-headed, driven by his desire to hunt down every Ochi, he grieves the loss of his wife (Emily Watson), yet this should bring him closer to his daughter. However, a gulf exists between them, likely widened by Maxim’s adoption of Pedro. Clearly, Maxim has demons, but it’s strange that in this town, the only ones who obey him are young boys, each burdened with their own mental struggles. If the Ochi are indeed monsters, can the town afford to rely on Maxim and his young wards to fend off the threat? Perhaps it’s only Maxim consumed by the legend. Dafoe plays Maxim with focused intensity, delivering a performance that is both compelling and full of internal conflict.
Don’t miss the messaging that Saxon aims to convey about Maxim’s negative influence on young minds. While this is a fantasy adventure drama, it serves as a reminder of how one sullen soul can corrupt the minds of the youth. The various conflicts around the globe, including terrorism, are examples of such indoctrination.
Helena Zengel’s portrayal of Yuri in The Legend of Ochi is captivating. Her natural beauty, especially her expressive eyes, perfectly reflects the innocence and inner turmoil of her character. When she wears the fake fangs, Zengel’s portrayal of Yuri takes on an Ochi-like quality, symbolizing her growing identification with the creature.
Early in the film, Yuri feels unsettled, surrounded by her complex father, Pedro, and the other boys. She holds much inside, but her bond with Ochi becomes cathartic, allowing her to release these emotions. Her reunion with her mother is bittersweet—though cared for, she faces a cold reception. This moment reflects her loss of faith in humanity, as she seeks solace in the Ochi rather than the world around her.
Zengel delivers a thoughtful and compelling performance, capturing Yuri’s emotional journey with sensitivity and depth, making her character’s growth from uncertainty to purpose both believable and moving.
Initially thought to be gone, Dasha (Emily Watson) reappears, living alone in the hills. The reunion between Dasha and Maxim is far from pleasant, highlighting the deep rift between them. Having been away from her daughter for so long, Dasha initially lacks an emotional connection with Yuri. Emily Watson plays this detachment with subtlety, effectively portraying a woman who, despite the distance, struggles to reconnect with the child she left behind.
The odd thing here…
The fantasy adventure could have benefited from more adventure once Yuri embarks on her journey to reunite Ochi with its mother. Things move quickly, with Dasha finding Yuri, but despite all the hype and fear surrounding the Ochi, the climactic action offers little thrill and shifts more toward family drama – both human and animal. One odd aspect is the disconnect between Saxon’s main characters, their world, and the rest of the town. Perhaps the writer-director would have been better served by setting his story in a different time or era, one without modern cars, supermarkets, and contemporary luxuries.
Final word
Like its imperfect characters, The Legend of Ochi has its flaws, but the stunning visual artistry and strong performances from the lead cast make it an emotionally engaging film for children, parents, disgruntled parents, and families alike. Watching young children mimic Ochi and create Ochi-like sounds during the special screening was truly a sight to behold. It wouldn’t be surprising if kids start clamouring for Ochi soft toys. A legend is born—and here to stay.
Distributed by Impact Films, The Legend of Ochi is set to be released in India on 1 May.
Watch kids reaction to The Legend of Ochi below.
