On Swift Horses (2024) is a sweeping romantic drama directed by Daniel Minahan and written by Bryce Kass, based on Shannon Pufahl’s debut novel. The film’s setting is the United States in the 1950s, post-Korean War. It addresses carefully masked yearning, identity, and the perpetual conflict between autonomy and requirement, societal norms. It examines the traditional love— queer love— captures and survives in the shadows of American ideals enduring repression.
Synopsis
After the Korean War, Lee Walker and Muriel Edwards Walker start their life together in rural Kansas. The couple then attempts to carve out a conventional existence and anticipates commencing life in California. The couple’s envisioned postwar domestic tranquility is interrupted by the arrival of Lee’s younger brother, Julius.
Julius, a war veteran, is restive and enigmatic, clearly unsuited for small-town life. His presence brings additional strain to the already fragile marriage of Muriel and Lee. Shortly after, Julius leaves Kansas for Las Vegas, where he works at a casino. There, he meets and romantically falls for Henry, a Mexican-American co-worker. Their relationship, which was kept hidden due to the era’s rigid societal standards, provided solace in an otherwise oppressive environment.
In Kansas, Muriel grapples with the tedium of domesticity. She uncovers unexpected excitement by betting on horse races and begins placing bets in secret, stashing away money unknown to Lee. Through this escape, she meets and becomes close with Sandra, a neighbor who offers a different intimacy that awakens long-buried emotions. Muriel’s emotional, and potentially romantic, bond with Sandra echoes Julius’s experiences in Las Vegas, highlighting the film’s intertwined narratives of self-discovery and yearning.
As Julius and Muriel attempt to free themselves from personal shackles, their lives merge once more. Each must decide if they are willing to step into the light after confronting revealing truths, or instead choose to remain in the dark and bear the consequences of deception. The lack of dynamic resolution to the film’s climax is countered by a soothing ambiguity that prompts the audience to instead reflect upon the emotional authenticity showcased and its price—and worth—entails.
Cast and Crew
Daisy Edgar-Jones takes the role of Muriel Edwards Walker, a quiet yet resolute woman whose life trajectory leads her towards self-discovery. With subtlety and grace, Daisy Edgar-Jones captures Muriel’s emotional turmoil and conflict, portraying her with empathy and not as a dramatized figure.
Jacob Elordi stars as Julius Walker, Lee’s younger brother. As charismatic as he is volatile, Julius highlights the chasm that exists between expectation and genuine longing and desire. Elordi delivers a layered performance portraying emotional and behavioral shift from bravado to vulnerability.
Will Poulter plays Lee Walker, the dutiful but emotionally distant husband. His role reinforces the era’s ideals of masculinity, showcasing the rigid outer shell of stability partnered with internal disconnection.
Julius’s boyfriend in Las Vegas is portrayed by Diego Calva, casting Henry. Calva imbues Henry with warmth and compassion while offering the safe space required for Julius’s metamorphosis.
Sasha Calle acts as Sandra, supportive and caring but helps Muriel toward self-exploration, making her authentic self complex.
With his award-winning television work as a background, Daniel Minahan has turned to feature films with On Swift Horses. He will make his debut as a movie director for Pufahl’s novel “On swift Horses”. The screenplay was written by Bryce Kass, a historical novelist who also wrote about the history from books with impressive emotional depth. It is worth mentioning that the camera work of Luc Montpellier matches the elegance and restraint nature of the 1950s melodrama by using composed frames and muted colors. While making the movie, Mark Orton composed “Song for Henry”, a piece that complemented perfectly the film’s name by putting forward its meditative characteristics.
Characters and Themes
Identity and Repression
On Swift Horses is centered around people living with suppressed true identities. Separated by distance and circumstance, two of the main characters, Julius and Muriel, battle against societal constructs that restrict personal freedom. The film demonstrates how the so-called American Dream of the nuclear family and post-war prosperity was often just a façade covering a discontented and unfulfilled life.
The Silence and Queer Affection
Tenderness and restraint delineate the portrayal of queer relationships in the film. The development of Julius and Henry’s relationship avoids sensationalism and instead highlights the emotional safety they offer one another. Similarly affirming, Muriel’s relationship with Sandra is subdued and quiet. These connections are characterized not by grand pronouncements but by captured glances, minimal movements, and silence.
Risk and Gambling
As a subplot, gambling serves both as a literal plot device and a metaphor. For Murial, betting on horses is a means of both control and rebellion. For Julius, each step into emotional honesty is a gamble with his safety and identity. The horse thus becomes a metaphor for danger and freedom, racing toward uncertain tomorrows.
Dual Storylines
The film blends the stories of Muriel and Julius together with parallel developments, creating a narrative rhythm reflective of their shared longing. Both await a release from the constricting expectations of the time—with only fleeting, glimpsed opportunities found in their relationships. Critics have observed that although this dual structure at times may dilute the film’s focus, the overall impact on the emotional tapestry proves enriching.
Reception
On Swift Horses competed at the Toronto International Film Festival in 2024, where it was received positively for its performances and thematic scope. The film was later featured at several other festivals, including Palm Springs, South by Southwest, and Miami. It received accolades for its period authenticity and emotional depth; however, some critics felt its pacing was too slow and its symbolism at times heavy-handed.
Daisy Edgar-Jones and Jacob Elordi were awarded for their portrayals, and critics noted the palpable chemistry between Elordi and Diego Calva, as well as the quiet strength of Edgar-Jones. The film’s visual style drew comparisons to mid-century American cinema and received particular praise for its Douglas Sirk-inspired cinematography.
Financially, the film performed modestly in arthouse markets, earning approximately $1.17 million at the U.S. box office. Though it did not attain a mainstream commercial level, the film was adored by audiences seeking character-driven narratives.
Conclusion
On Swift Horses is a subtle and moving study of emotional exile and self-awakening. It depicts the quiet defiance of individuals residing in the periphery—whether emotionally, socially or politically—during a time of widespread conformity. Although the film is not without narrative and stylistic flaws, it manages to tell a story that will resonate with anyone who has grappled with feeling out of place within their own life.
On Swift Horses is distinguished from other modern romantic dramas with its strong performances and direction, as well as a message that is sincere and heartfelt. Its themes are not proclaimed; rather, they simmer just below the surface, inviting the audience into a world where longing is both a heavy shackle and a means of self-discovery.
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