On Swift Horses (2025) - Film Review

      On Swift Horses, 2025.

      Directed by Daniel Minahan.

      Featuring 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 set to begin an exciting new chapter in their lives, which is disrupted by the unexpected arrival of Lee’s brother. Muriel starts a secret life, engaging in horse racing gambling and discovering a love she never imagined she could have.

      Upon returning from the Korean War, Julius (Jacob Elordi) sees his future sister-in-law Muriel’s (Daisy Edgar-Jones) deck of cards. He takes them out and shares a metaphor linking card counting to the events that have transpired and what lies ahead. In director Daniel Minahan’s On Swift Horses, adapted from a screenplay by Bryce Kass and based on Shannon Pufahl’s novel, gambling symbolizes more than just a financial risk; it reflects the hazards the characters encounter as they seek fulfillment outside the societal constraints of 1950s America.

      Muriel is uncertain about the true meaning of love. Yet, she agrees to the marriage proposal from Julius' brother Lee (Will Poulter, who is having a notable year in 2025 with diverse performances, and this role is no exception) and is willing to support his dreams of a perfect suburban American lifestyle. Part of Muriel’s reasoning for her acceptance lies in Julius's promise to relocate to San Diego with them after selling her mother's house, allowing the three of them to embark on a new beginning.

      However, there is a complication, as Julius not only fails to uphold that promise but is also secretly gay. He heads to Las Vegas to take a job observing a casino from behind a two-way mirror, meticulously watching for cheaters who are then ejected by the casino's security. In this stifling, cramped room, Julius meets Henry (Diego Calva), who quickly realizes Julius's sexuality and encourages him to be more open about it while making flirtatious advances. It’s a cruel irony that their job involves identifying and punishing outcasts of the gambling scene. Still, the romance that develops between them is gentle and sensitive, much like the film as a whole.

      Meanwhile, Muriel takes advice from her brother-in-law and applies it to her job as a waitress, receiving valuable horse racing tips and consistently enjoying substantial wins. She uses her earnings to support their new home in San Diego, telling Lee that her frequent absences are due to selling the cherished family house. However, after moving to San Diego and pursuing this so-called American dream, Muriel finds herself feeling bored and emotionally unfulfilled. She forms a friendship with farmer Sandra (Sasha Calle), who is gay and senses that Muriel may be seeking something beyond just buying olives. Their rapidly deepening relationship turns passionate and serious, leading to a life-changing decision for Muriel.

      This intricate and realistic relationship drama ensures one outcome is guaranteed: Lee will face a devastating revelation. Fortunately, the film doesn’t portray him as either homophobic or vengeful; instead, he is a sincere man oblivious to the fact that his wife is drifting away, just as she is unaware of her true attractions to women. Additionally, he shares a touching moment with Julius near the film's conclusion, revealing deeper insights into both characters. Even though the gambling motif facilitates certain plot developments and some elements feel rushed (the latter parts of the third act seem slightly compressed), it serves to illustrate the raw yearning and emotional messiness that defines the narrative.

      On Swift Horses may not be brisk in its pacing, but this allows the love story to intensify and makes the inevitable downfalls more painful. While not every plotline succeeds, every ensemble member draws you into their experiences (enhanced by Luc Montpellier’s stunning shot composition and authentic period aesthetics), making them complex and keeping the audience engaged. There’s no risk in this film; it rewards anyone willing to experience it.

      Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder is part of the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He also serves as the Reviews Editor for Flickering Myth. Check here for new reviews and follow my BlueSky or Letterboxd.