On Swift Horses, 2025.
Directed by Daniel Minahan.
Starring Daisy Edgar-Jones, Jacob Elordi, Will Poulter, Diego Calva, Sasha Calle, Kat Cunning, Jay Huguley, John Lee Ames, Don Swayze, Boone Platt, Chad Coe, Dan Martin, Dani Deetté and Andrew Keenan-Bolger.
SYNOPSIS:
Muriel and her husband Lee are about to begin a bright new life, which is upended by the arrival of Lee’s brother. Muriel embarks on a secret life, gambling on racehorses and discovering a love she never thought possible.
Returning for a visit from the Korean War, Julius (Jacob Elordi) notices his future sister-in-law Muriel’s (Daisy Edgar Jones) card deck. He breaks them out, launching into a metaphor that compares card counting to what has happened and will happen next in life. For the characters in director Daniel Minahan’s On Swift Horses, adapted from a screenplay by Bryce Kass and based on the book by Shannon Pufahl, gambling represents more than a potential financial risk; it also embodies the dangers they face in seeking fulfillment outside the societal norms of 1950s America.
Muriel isn’t sure she understands what love is. Still, she caves, accepting Julius’ brother Lee’s (Will Poulter, who is having a solid run in 2025 with varied performances across different genres, with this one being no exception) marriage proposal, and is willing to indulge his dreams of an idyllic American suburban life. Part of Muriel’s reasoning for saying yes is that Julius has also agreed to move down to San Diego with them, upon selling her mother’s home, so the three of them can start a fresh life.
There is a wrinkle here, though, in that Julius not only doesn’t live up to that agreement, but is secretly gay and heads off to Las Vegas where is hired for a position overlooking a casino looking down through a two-way mirror, studiously observing for cheaters that will subsequently be kicked off the premises by the establishment’s security. In this appropriately sweaty, claustrophobic attic-like room, Julius also meets Henry (Diego Calva), who instantly catches on that he is gay and takes on the somewhat clichéd role of egging him on to become more open about it while making flirtatious moves. It’s cruelly ironic that their job consists of identifying and punishing outcasts of the gambling world. Nevertheless, the whirlwind romance that ensues is sensitive and gentle, much like the film itself.
Meanwhile, Muriel takes tips from her brother-in-law and applies them to her waitress job, picking up hot, reliable horse-racing advice and consistently winning big. She uses that money to fund the San Diego home, telling Lee that her frequent absences were tied to selling the previously mentioned family home that carries much sentimental value. However, once in San Diego and living that so-called American dream life, Muriel is noticeably bored and unsatisfied (emotionally and sexually), befriending farmer Sandra (Sasha Calle), who is gay and senses that she might be looking for something more than purchasing olives. It’s a blossoming relationship that unexpectedly becomes so serious and passionate that a life-altering decision will be on the horizon for Muriel.
This is a thorny, grounded relationship drama where one outcome is certain: Lee is going to have his world shattered. Thankfully, this isn’t a story painting him as homophobic or vindictive, as he is playing a well-meaning man who doesn’t realize his wife is slipping away from him as much as she didn’t know she preferred women. He also has a beautifully heartfelt exchange with Julius toward the end, revealing much more about both characters. Even if the gambling aspect allows for some convenient plotting with some other elements coming across as rushed (parts of the third act feel slightly shortchanged), it’s in service of some raw yearning and moving messiness.
On Swift Horses is far from swift in its pacing, but that makes the simmering love burn stronger, and whatever inevitable downfalls sting more. Not everything regarding the plot lands, but every piece of the ensemble sweeps you up into their lives (elevated by some exquisite shot framing from Luc Montpellier and believable period piece aesthetics), is complicated, and keeps the viewer empathizing. There is no gamble here; it will pay off for anyone willing to check the film out.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He is also the Flickering Myth Reviews Editor. Check here for new reviews and follow my BlueSky or Letterboxd
