In one sentence: On Swift Horses is a post-war American drama following Muriel and Julius as they navigate repression, risk, and emotional longing in the aftermath of the Korean War.

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Based on the book by Shannon Pufahl, On Swift Horses brings together some of the most talked-about actors of the moment in a quiet, beautifully shot film set in post-war America. Beneath its polished surface, it explores repression, desire and the weight of life choices through the queer relationships that unfold.

Muriel (Daisy Edgar-Jones) and Lee (Will Poulter) are living a conventional, ordered life when their world is disrupted by the arrival of Lee’s brother, Julius (Jacob Elordi), newly returned from the Korean War. Julius introduces Muriel to gambling and to a way of living that feels thrillingly different from anything she has previously known. The film smartly subverts expectations, avoiding the traditional love triangle one might anticipate from its three leads. Instead, both Julius and Muriel begin to explore their queer identities during the 1950s, a time when such feelings were misunderstood and carefully concealed.

The film is a slow burn, focused more on character study than narrative momentum and this will not appeal to everyone. I found it lagged at times, despite the strength of the performances. The source material reportedly has a lyrical and introspective tone and the film remains faithful to this, which is a credit to the filmmakers. Visually, it is striking. The colour palette is rich and painterly, often reminiscent of Edward Hopper and the costuming is particularly effective. Muriel’s outfits stand out during her visits to the racetrack, while Julius’s scenes, many set in hotel rooms with him wearing briefs, are sun-drenched, warm and almost oppressive, capturing the claustrophobia of a love that cannot exist openly.

Gambling is handled thoughtfully, showing both its allure and its darker edges. For Muriel, it represents freedom and possibility, opening doors to a life she had never imagined. For Julius, however, it becomes more corrosive, placing strain on relationships. Muriel’s marriage increasingly feels restrictive as Lee’s ambitions and expectations suffocate her sense of self. The film offers an insightful reflection on traditional marriage and how difficult it must have been to live authentically.

Muriel and Julius share a relationship that is both intimate and distant. They seem to understand and misunderstand one another in equal measure, with moments that feel like sexual tension simmering beneath the surface. The use of mirroring is particularly effective. When one turns in bed, the film cuts to the other doing the same, reinforcing their connection.

Overall, On Swift Horses is an interesting and visually accomplished film, but its title feels somewhat misleading. There is very little that is swift about its pacing, and while it will resonate deeply with some viewers, others may find its deliberate slowness a barrier.

★★★ (3/5)