‘On Swift Horses’ Review – Jacob Elordi & Daisy Edgar-Jones Star in Tender But Uneven Neo-Western

Following groundbreaking queer romance films like Brokeback Mountain or Call Me by Your Name, audiences have been blessed with diverse love stories that challenge societal norms to explore deeper, more nuanced emotional complexities. While these films have captured the audience’s attention through raw vulnerability, On Swift Horses steps into this lineage to depict the push and pull between love and societal repression. Based on Shannon Pufahl’s acclaimed novel of the same name, the slow-burn neo-Western starring Daisy Edgar-Jones, Jacob Elordi, and Will Poulter blends soft noir elements into a rather layered, intimate story of quiet rebellion in a world that insists on its silence. But as the film attempts to adapt the novel’s sprawling, rich, character-focused romance with care and precision via Daniel Minahan’s direction and an adept cast, it feels tonally uneven at times, veering into campiness.

Set against a repressive backdrop of the 1950s, On Swift Horses transports us to a conservative post-war America that hides so much of its real identity and self in the shadows. With a golden-hued finish reminiscent of yesteryear classics, the film’s look is incredible and sets the stage for another sweeping romance. But across its almost two-hour runtime, there are a lot of things that work genuinely well for a romance that tackles themes of repressed sexuality and queer relationships — and then, there are a bunch of things that don’t. While the casting is sharp and works hard to create depth, there are moments when the film loses its pace and message, falling a bit to the wayside.

What Is ‘On Swift Horses’ About?

Blending themes of forbidden love, societal expectations, and the pursuit of personal freedom, On Swift Horses follows Julius (Elordi), a war veteran who returns from the Korean War to live with his older brother, Lee (Poulter), and his fiancée, Muriel (Edgar-Jones) in Kansas. Lee wants to have the American dream and a quiet life out west with his future wife, a few kids, and a home he can call his own. But while he has hopes to create a new chapter for himself, Muriel and Julius have other aspirations. They might appear as if they are star-crossed lovers through some rather intimate, quiet moments together but we soon learn through their shared conversations, that they have a somewhat complex relationship, rooted in a shared alienation.

The two are very much alike and share an undeniable bond, but it’s less romantic than it is more about feeling out of place. Muriel is trapped in a nuclear structure with Lee, while Julius is trying to understand his desires and identity in a society that is not accepting of a gay man. As the two represent freedom for one another and their ideal of the “American dream,” they keep their secrets far from Lee. Julius leaves his brother and sister-in-law behind for Vegas, where he helps casino security catch scammers. During his work with dealers, he becomes entangled in a secret, passionate love affair with Henry (Diego Calva).

While Julius feels at peace being himself despite the risks and stigma at the time, Muriel feels confined to her engagement and past. Not wanting to sell her mother’s home in Kansas, she secretly gambles and wins big at the racetrack, hiding her earnings from Lee and keeping her rainy-day savings. But her struggles come to the surface when she meets Sandra (Sasha Calle), her neighbor fighting to save her home from demolition. As their relationship deepens, Muriel comes to terms with her bisexuality, finding solace in Sandra. But it’s the secrets that Julius and Muriel keep that truly tear their respective worlds apart, creating heartbreak and turmoil for those they care about most.

‘On Swift Horses’ Has Its Moments Despite Being Tonally Uneven

As a film that ambitiously tackles themes of repressed sexuality and queer relationships in post-war America, the film does a fine job of peeling back these layers for audiences to recognize. Most of those details are seen between Julius and Henry as the two become the film’s emotional anchor and the main investment for audiences. But it’s what those very elements signify that sometimes feel a little stagnant across the relatively overwrought plot. There is a dramatic shift from what initially feels like an intimate platonic love story between two queer characters like Julius and Muriel to a broader, more cinematic story that feels abrupt and jarring. While the wider narratives are meant to critique Americana and heteronormative structures in the conservative United States, it creates a lag and slows down its pacing. But it also makes you wonder which character is most deserving of our focus.

There are also times when the messaging about sexual identity and repression is undercut by campiness or unintended humor — like the film’s finale, which doesn’t exactly complement the heaviness of Muriel and Julius’ respective arcs. Instead, it’s a sharp, almost disconnective contrast from the film’s more subdued and introspective moments. Culminating in a scene that might feel laughable or even out of place, it’s this kind of tone that subtly permeates across the film that detracts from its overall impact, making it more nonchalant than it needs to be. Yet even with this disruption, On Swift Horses still creates some magnetism. Ranging from quiet moments of intimacy to melodrama, Minahan captures the tension through his attention to detail, emphasizing the film’s small moments that reveal the characters’ deeper motivations, whether it’s Julius lounging shirtless on a car hood in a moment that feels very Marlon Brando or Muriel’s quiet rebellion against her domestic life.

The Cast of ‘On Swift Horses’ Fill in Some Gaps

While its tone is rather uneven, the film’s strongest asset is its cast. Bringing charisma and depth to very complex roles, Elordi might be young in his career, but he is at the top of his game with this one. Best known for his role in Euphoria, the subtle performer brings a quiet and absorbing intensity to Julius that feels reminiscent of Brando or even James Dean. Delivering a sharp, emotional depth that gives the audience something to sincerely hold onto, Elordi is striking and raw in every scene.

As for his co-star, Jones, she offers an incredibly focused and nuanced performance that skillfully balances her character’s outward composure. As Muriel begins to understand herself, we are right there with her, feeling every emotion and yearning. She is compelling and authentic in a performance that truly heightens the adaptation’s depth and fervency. That said, though the two are wonderful alone, their chemistry is rather frail and never feels fully established. Considering the bond is the film’s anchor and crucial to the plot, their intensity lacking that which each character shares with their respective partners is hard to overlook.

While Poulter gives everything he can to the role, there is a bit of a disconnect between the written character and story, not completely allowing audiences to understand who Lee is. Instead, he is rather one-dimensional and only during a climactic moment with Muriel do we get to see another side of him. But Poulter brings a solid depth to him in the moments we get. Calva, as one of the film’s main anchors to the love story, brings a charismatic edge to the role. Henry is complex and not much is known about him, but we grow an affinity for him because of Julius. Calva might have wooed audiences in Babylon two years ago, but it’s On Swift Horses that proves he’s a strong, reliable actor who has a lot more to offer. Finally, Calle is a true standout. More than just Muriel’s confidant and romantic love interest, there’s an appreciated and natural warmth to her that Calle portrays beautifully. The moments she shares with Edgar-Jones are not only heartwarming but a testament to Calle’s striking depth.

While the film navigates a complex narrative with varying degrees of success, it genuinely thrives in creating a thought-provoking story that resonates with its themes of love and identity. But even with striking visuals that offer compelling depth and beauty to Minahan’s overall look, the film’s inability to keep a consistent pace and tone, or even establish its primary focus through its leads undercuts its biggest, most poignant messages.

On Swift Horses had its World Premiere at the Toronto International Film Festival.