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“The Legend of Ochi,” on a dangerous discovery, a misunderstanding teenage girl is a scary and dark eccentric felic, a sense of a film that you can stumble and love as a child. Some touching, some fictional and, maybe, some slightly dangerous – the kind of movies you knew that you were probably not yet going to watch. They are those who are like that strange English dub of Norway’s adventure “Shipwrak”, which I once saw at an impressive age on Disney Channel.
Perhaps it is only familiar to the video generations of those first home, a naive, from the pre-social media era, when the movies you loved, they felt like your own personal discovery and secret, whether it is “Star Wars” or “The Nevering Story”. Later learn how disappointing it was that all the other people also loved him.
It is no surprise that “The Legend of Ochi” was created by someone in the region – “ET”, “The Black Stallian” and the directors of Palm Pictures by some combination of the labeled box sets by an old millennium shaped. Those DVD taught several cinefiles, which were about the transport possibilities of music video dreams by Epic Jonge, Chris Cunningham and Mitchell Gondri to artists such as Affex Twin, Dop Punk and Bijark.
That music video is clearly clear in energy and a positive way in the committed world building “Ochi”. This is a description that seems that more and more pejoratively is not used, such as shallowly rejecting something beautiful as a perfume commercial. But perhaps those people have not only seen good people.
Helena Zengel is the central heroine, Yuri, who lives with a de-facto brother Petro on Woody on the island of her father Maxim and Carpethia. Maxim likes to hunt Ochi, a species of primates that are constantly threatening to protect humans and their fields, and they have trained to help an army of young boys. Yuri is placed on a large -scale edge, partially for her safety, partially, perhaps, because Maxim is a banged alpha male who wears clothes in ancient armor wide, ancient armor for her missions. His armor is a dirty, oversized yellow puffer jacket that can double as a sleeping bag. At home, she moves quietly and listens to the metal of death in her room.
He is a little distance away, which will be a clich tropped for a girl without a mother, but Zengel works to it. It is clear that she does not feel at home in this world, but finds a kind of purpose when she comes to an injured child Ochi and takes it to her family to return to her family. Ochi, he finds out quickly, is misunderstood.
It is still a dangerous journey, including a humor and a slightly disgusting journey for a local supermarket, discovery of her own long mother, and a comic, intense performance between Watson and Dafo. The Dirty Projector K. David Longstrath scored a fictional score and Ivan Proseopski is responsible for the vivid cinematography.
“The Legend of Ochi” was excluded from several influences, from Miazaki to Amblin, and it is the kind of ambitious swing that Hollywood does not seem to be very often these days – not especially with PG ratings. This does not mean that it all works basically, though. Emotional heartbeat does not seem to descend authentically as more irreversible humor. But it is impossible not to praise creativity, imagination and care, which went to make something like this with puppets, matte paintings and inventor graphics for only $ 10 million.
“The Legend of Ochi,” has been given the status of PG by the Motion Picture Association for “some language, smoking, a bloody image, thematic elements and violent material” in an A24 release. “Running Time: 96 minutes. Three of the four stars.
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