On swift horses gay


Muriel, a waitress in s America, seems to be the quintessential June Cleaver. She&#;s got a loving husband, a suburban home with a white picket fence in California and nice outfits. But not everything is as it seems, like her confidential gambling. And her eye for a neighbor.

“On Swift Horses,” based on Shannon Pufahl’s novel of the same name and adapted by Bryce Kass, is all about how a dominant culture can suppress natural impulses. More specifically, it&#;s a queer tale establish against the post-Korean War status quo.

“We are all just a hair’s breadth from losing everything, all the time,” Muriel is told by a woman also hiding her truth in plain sight.

But despite a brilliant performance by Daisy Edgar-Jones, “On Swift Horses” gets lost in a meandering plot and clunky symbols, including olives, atomic bomb tests, a tiny gun and a horse, the universal sign of the unbridled self that is just sort of dumped here. The execution is often slack and then veers into melodrama in the last 15 minutes. And there&#;s a weird noir vibe that doesn&#;t really work.

That&#;s a shame because a film d

This review of On Swift Horses was originally published as part of our TIFF coverage.


First queer love is all about projection. We’ve seen this in many a gay movie. A character, previously closeted to the world and even themself, meets someone, falls in love, and through this person emerges anew. Sometimes the love itself is adj to believe in. Desert Hearts for one. But often, the love was never the gesture. Call Me By Your Name, Pariah, classics like Lianna — it’s not about the romance, it’s about what the romance reveals.

On Swift Horses is an unconventional queer love story. The person Muriel (Daisy Edgar-Jones) first meets is not a lover, it’s not even a gal — it’s her soon-to-be brother-in-law Julius (Jacob Elordi). She’s drawn to him and doesn’t grasp why. She’s so drawn to him she finally agrees to marry his brother Lee (Will Poulter) just to remain in Julius’ life.

Shifting in time across the s and in place from rural Kansas to San Diego, Las Vegas to Tijuana, this is a movie with many threads. Muriel’s journey shares equal weight with Julius’ retain love stor

On Swift Horses: Jacob Elordi's Gay Drama Gambles and Loses [TIFF ]

In a perfect world, On Swift Horses might have been the Brokeback Mountain for a new generation. Calling to mind Ang Lee's Oscar-winning film, it is an emotional neo-Western adapted from a literary source, with daring queer love at the center, and starring a quartet of steadily-rising stars in Hollywood. The biggest difference, however, is that Lee's film was as entertaining and masterfully crafted as it was groundbreaking, while Daniel Minahan's movie, which had its world premiere at the Toronto International Film Festival, feels more like a fizzle than a bang.

Based on the eponymous novel by Shannon Pufahl, On Swift Horses finds Muriel (Daisy Edgar-Jones) and Lee (Will Poulter) on the brink of a recent life following Lee's return from the Korean War. His ultimate dream is to get married and start anew in California, but Muriel doesn't seem too ecstatic about the idea. To further complicate matters, Lee's brother, Julius (played by Jacob Elordi), shows up unexpectedly at their d

Film Review: On Swift Horses

⭐⭐⭐⭐⭐

Rating: out of 5.

Jacob Elordi and Diego Calva starring in a gay film together was enough to set the internet ablaze. Would this decade-spanning drama be worth the wait? Thankfully, there is much more depth to On Swift Horses than just saucy screenshots. Director Daniel Minahan (Netflix&#;s Hollywood, Showtime&#;s Fellow Travelers) and screenwriter Bryce Kass (Lizzie) reshape the best-selling novel from Shannon Pufahl with an assured hand. Not only are we treated to sumptuous visuals and deeply complex character interplay, but also a near-perfect romance at the forefront. With fan favorite Will Poulter serving as the central orbit, a duo of mighty closeted queer leads provide a pointed juxtaposition for both lesbian and gay experiences. Set in the s, On Swift Horses delivers a quartet of enthralling performances in a compact and emotionally potent little package.

Vintage polaroids and music in the opening credits immediately establish a nostalgic atmosphere. At the core lies the parallel journeys of Muriel (Daisy Edgar-Jones, Fres