Muriel and her husband Lee are beginning a bright new life in California when he returns from the Korean War. But their newfound stability is upended by the arrival of Lee’s charismatic brother, Julius, a wayward gambler with a secret past. A dangerous love triangle quickly forms. When Julius takes off in search of the young card cheat he’s fallen for, Muriel’s longing for something more propels her into a secret life of her own, gambling on racehorses and exploring a love she never dreamed possible. ON SWIFT HORSES finds rapturous beauty in the décor and accoutrements of the era. Yet what lingers most is the power of its characters’ yearnings, whether secret or boldly declared. This is a story about risking everything for love, only to gain self-knowledge along the way.
“A stunning tableau of almost-romances, weaving together ephemeral moments of magic with the pain that inevitably follows when the universe takes them away. One of the best aspects of Daniel Minahan’s film is the fact that it lacks a conventional villain. Everyone…makes their best effort to be a good person in a world that seems determined to take everyone away from them.” —Christian Zilko, IndieWire “An emotionally complex love triangle that branches out into something even more complex… Both Julius and Muriel love to gamble, but while cards are his poison, she prefers betting on horses. Much like their shared vice, their queer love lives are just as dangerous… It’s beautiful, heartbreaking and demands to be seen on the biggest screen possible.” —Jourdain Searles, Hollywood Reporter “A slow-burning, 1950s-set noir-Western about transgressing boundaries…driven by carnal appetites and a longing to break free of societal expectations. It features an electrifying performance from Elordi, along with detailed sets and stunning photography…Great detail is put into recreating a swanky gay bar, a luscious racetrack and casinos. There is also a thoughtfulness for how these charged bodies look in space and shadow, instilling the film with a noir aesthetic.” —Robert Daniels, Screen Daily
