On Swift Horses is based on Shannon Pufahl’s debut novel of the same name. Going into this film, I hadn’t seen a trailer or read the novel. I only saw the incredible cast and read the deceiving synopsis released. “Muriel and her husband, Lee, begin a new life together after he returns home from the Korean War. However, their newfound stability gets upended by the arrival of Lee’s charismatic brother, a wayward gambler with a secret past.”

Reading that description, you’d think On Swift Horses was gearing up to be a 1950s, adult version of The Summer I Turned Pretty. It’s also billed as a sweeping epic romance of a Hollywood time gone by. But that’s not what it is at all. Instead, I was surprised to discover it’s actually a queer love story, one that’s far more introspective than epic. At its core, it’s about self-discovery, acceptance, and the quiet ache of longing in a time when being true to yourself came with real consequences.

Now, had I watched the trailer, none of this would have been a surprise. But, I like to go in without spoilers as much as I can.

ON SWIFT HORSES: JOURNEY OF LOVE

This highly stylized film is undeniably beautiful, with striking visuals and a strong ensemble cast including Daisy Edgar-Jones (Twisters), Jacob Elordi (Saltburn), and Will Poulter (Death of a Unicorn). Their performances bring depth to the material, but as the story unfolds, what could have been a compelling exploration of queer identity during a perilous time ultimately feels emotionally thin.

Muriel and Julius are supposed to be the yin and yang of each other. Both are on their journeys of sexuality. But their arcs, while conceptually rich, never fully come to life. Muriel’s unexpected success in horse betting is a compelling setup, offering her a quiet form of rebellion and a way to carve out independence from her husband. But it never fully takes shape. Rather than a narrative thread with real emotional payoff, instead, it instead feels like an underdeveloped parallel to Julius’s chaotic life of gambling in Las Vegas. Both are chasing freedom, both are hiding parts of themselves, but the film never quite connects their experiences in a meaningful or resonant way. What could have been a powerful dual narrative ends up feeling disjointed and emotionally muted.

On Swift Horses makes bold strides in its attempt to explore love, longing, and identity. There’s a clear desire to say something meaningful, and at times, you catch glimpses of a unifying thread beneath the surface. But the weight of its ambition ultimately proves too heavy for the story to carry.

On Swift Horses releases in theaters April 25.

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