This is one of those films where I felt a sense of connection that was mesmerizing. More by the fact that struggles with family in a fantasy setting loops in desperation and urgency—senses of feeling united throttle The Legend of Ochi. Written and directed by Isaiah Saxton, his focus brings his audience to a universe where one finds a cause to care for a particular creature. The setting has filming in Romania—a setting where mountains and villagers have a sense of brutality and norms. Saxton’s era is magnificent—because it is an adventure and fantasy that challenges a new approach to the sense of taking objectives that are right and sincere.

In the film, its main character is Yuri (played by Helena Zengel), and she is one who lives in the village of Carpathia. A destitute island with a vibe of mixed moving parts. It is written like politics are associated, but deep-down Yuri is the one who is alone. With a stubborn father Maxim (played by Willem Dafoe), and a questioning mother Dasha (played by Emily Watson). Yuri’s life revolves around scenarios that are not normal. Her life changes though when she comes across an “Ochi.” It is an animal where the village has been trained to despise, but Yuri feels that this creature is one that is in her hands to protect it. She decides to escape and make this creature her new opportunity. It is a newborn. She runs and Maxim hunts to bring her home, and so does her brother Petro (played by Finn Wolfhard).

The magnificent aspect is the lines of wanting to do good. There is also that nurturing personality of writing that thrives to make The Legend of Ochi feel like E.T. Overall. It is just in an era that is almost in the same period as E.T., but this one has more moving parts hidden beneath the surface. A lot of questions to why an “Ochi” is a creature of despise. Deep-down though, the bond is strong and heavy, and my hope for that true connection that thrives vigorously was when I kept praying for in The Legend of Ochi.

What kept coming to my mind is the pattern of the attitude with the performance of Zengel, Dafoe, and Watson—because throughout the setting of the film, they have that display of disconnect that throttles the sense of desperation. Of course, though, the village setting is in the protective zone, and that is what fuels the film’s loneliness side of the journey to save a creature. However, there is also a sense of good deeds invigorating the core. The Legend of Ochi tends to bring in beliefs to add layers of curiosity but also layers for optimism to keep burgeoning.

The setting of resources and times in complicated places is the valuable aspect in The Legend of Ochi. The writing of hardship and family patterns to maintain is where I found a light of hope that was insightful. The Legend of Ochi is a tail that invigorates a good deed for a cause of inspiration. “Inspiration” of what some will do to feel the lack of love—they will do the empathetic deed. Yuri is the one on the mission to fulfill that destiny. The task is not easy, but along the way, it spirals with magnificence.

Where depth and happiness throttle, it is in a moment when Yuri communicates with the “Ochi.” It is almost like speaking gibberish or Klingon (the language from Star Trek). In that key moment my gut for love felt nourished. That is because that makes the film revive a lonesome moment. It also leaves the door open for change to come around. Fantasy, the forests, and Yuri are the foundation to The Legend of Ochi. Truly magnificent, touching, wonderful, and a grandeur of wackiness with classiness on a level that goes dark to create a bigger meaning of empathy in a fictional tone. Four out of four stars for The Legend of Ochi.