The film is directed by Isaiah Saxon and distributed by A24, it airs in theaters on April 25, with a run time of an hour and 36 minutes. This family-friendly movie is not just an epic journey, but a quietly emotional connection with family and unexpected friendship.

Yuri, the heart of the story, is a tomboyish girl who loves to blast heavy metal music, plays with caterpillars and doesn’t mind getting her hands dirty. Yuri (Helena Zengel) is the daughter of Maxim (Willem Dafoe), a stern leader who commands a group of boy soldiers in hunting the Ochi. The Ochi species feels reminiscent of the eighties. They are mystical, monkey-like creatures who have large, dark eyes with bright orange fur. The film creates scenes that feel both timeless and innovative, echoing the spirit of a nostalgic charm with a fresh twist.

The scene is set on a island called Carpathia in the Black Sea, where the film opens on a suspenseful night and may remind audiences of Peter Pan’s Lost Boys —children waiting for war, sprinting through the forest and lighting trees with flames for the Ochi’s to scatter through the area. Saxon’s direction of this opening scene showcases the fast movement and contrasts a moment that is so serene. Then next, war erupts.

The dialogue is driven by the quiet power of movement and sound. Spoken words are sparse but purposeful, allowing the story to unfold through ethereal whispers of flute melodies and the natural world’s ambient symphony.

One impactful moment in the film is when Yuri stumbles upon a wounded baby Ochi caught in a trap. Unlike her family, she doesn’t see a beast–she sees a being. She frees it, bandages its wound and vows to return it to its mother. The bond they form together is delicate and is reminiscent of Grogu’s relationship with The Mandalorian or Stitch’s relationship with Lilo.

Yuri’s fractured family dynamic adds emotional depth to her character. Her mother, Dasha (Emily Watson), abandoned her family where Yuri’s father refused to let Yuri find her own voice growing up and didn't let her become independent. As for Pedro, (Finn Wolfhard) a newcomer adopted into Maxim’s hunting crew, he is looked upon to one day protect and take control.

The film embraces the power of visual storytelling. There are several moments in the film that suggest empathy and connection. The puppetry and production design is beautifully created. Saxon’s vision through color grading, camera movement, and set design give “The Legend of Ochi” a distinct tone and style echoing the spirit of classic adventure films.

“The Legend of Ochi” is a celebration of difference. It shows audiences how to choose empathy over fear, freedom over tradition and connection over control.