On Swift Horses (2025) Review: What is Love?

This movie is evidence of romanticism of post-war America in the 1950s. This tumultuous period was concealed by the hopeful optimism and pure terror mentality.

In an ambitious approach, Director Daniel Minahan, opts to deconstruct the intricate details that characterized this era, focusing on three individuals: Muriel (Daisy-Edgar Jones), Lee (Will Poulter) and Julius (Jacob Elordi).

The film opens with parallel footage of Muriel and Lee making love as Lee’s brother, Julius, approaches their house. This marks the first meeting of the collected Muriel and wayward gambler Julius, who seemingly portray a relationship akin to the yin and yang in life. From their initial interaction to the intermittent letters exchange that follows, their contrasting attitudes collide more frequently than not, leading to something more than just the nature of mere friendship.

Despite all her misgivings and apparent aversion to marriage, Muriel ends up marrying Lee when he returns from the Korean war and commences a bright new life in California, while secretly harbouring thoughts of freedom– freedom from marriage, freedom from the mundanity of life, freedom from sexuality and freedom from thoughts of Julius.

Meanwhile, Julius indulges in his love for casinos by choosing not to build a life with his brother and sister-in-law and instead chasing after the Vegas fantasy of detecting who cheats while gambling and gets paid for it. He falls in love with his co-worker, Henry (Diego Calva) and they begin a secret romantic relationship, living together in a hotel room.

Back in California, Muriel begins developing a hidden life of her own, wagering on racehorses after encouragement provided by Julius through his letters and placing the bets based on hearsay conversations while working at the local restaurant. She also fires up a physical relationship with Sandra (Sasha Calle), a female neighbour who was initially just a friend who supplied her with olives.

It’s a slow 1950s post-war queer historical fiction, but vibrant enough that I enjoyed it more than the book it is based on. Bryce Kass’s script delicately balances nostalgia and resentment, capturing everything from raucous sex sequences and moonlit walks on Christmas Eve to horseback racing in cowboy hats with the grace it merits.

The dialogues are few, the cinematography by Luc Montpellier is fantastic and the acting performances by Daisy Edgar-Jones, Will Poulter and Jacob Elordi are spectacular.

Unfortunately, the screenplay’s adaptation falls short for the same reason as the book: it’s too slow and ultimately fails to provide an insight into individual characteristics and their true thoughts while they carry out their actions.

Still, you won’t regret watching it owing to the outstanding acting performances from the three leads, the excellent Western-style cinematography, and, honestly, the whole 1950s vibe. It’s worth it.