Reel Review From SXSW 2025: On Swift Horses Poses a Lot of Ideas but Lacks a Thoughtful Resolution
Muriel (Daisy Edgar Jones) starts to build a life with her husband, Lee (Will Poulter), after he returns from the Korean War. Their new life gets thrown off course by the surprise arrival of Lee’s brother, Julius (Jacob Elordi). The newcomer shows Muriel a different way of life and encourages her to begin gambling. While Julius’ stay is short lived, his impact on Muriel is lasting, leaving her to question her seemingly perfect life.
On Swift Horses is an adaptation of the book of the same name written by Shannon Pufahl. It’s 1950s setting is an integral part of the story being that the societal expectations and gender roles were further enforced in day to day life now. Muriel is expected to be the dutiful housewife who wears dresses, cooks, and cleans. Coming back from war, Lee is relatively well adjusted, but has clear goals for his life as he attempts to move on. Julius is the disruptor, showing Lee and Muriel that life doesn’t have to look one singular way, but it is free to be lived as one chooses.
No fault to him, but Will Poulter feels miscast in this role. His performance was formidable but not one part of me could believe that a man in the 1950s looked like him. His character also had the least development throughout the film and we leave him just as we met him. He is the stereotypical 1950s husband who yearns for a simple life lived quietly.
Muriel by far had the best arc of the film, whether you support her choices or not. Controlled by her husband’s goals, she rarely has the opportunity to speak up for what she desires, leaving her truly unhappy. This discontentment comes out in a variety of ways. One being her unwillingness to sell her family home, leading her to gamble the money she makes waitressing at a diner. This risk works out in her favor due to eavesdropping on some knowledgable customers, but leads to her lying to her husband for quite some time. Muriel’s other main act of rebellion is with her sexuality. Unable to explore a public relationship with women, she seeks out dark clubs and intimate house parties. A habit that leads to the demise of her marriage, and returning to the sanctuary of her childhood home. Is this a full circle moment?
Julius’ story is one of rebellion as well. He comes and goes as he pleases without telling a soul, he travels alone. Largely due to the fact that he pushes against getting close to anyone, his life feels like a facade. After visiting Lee and Muriel, he goes to Vegas to earn money gambling. Once he figures out how to cheat the system, he gets a job monitoring the casino floor where he meets Henry. The two develop a deep and meaningful connection, yet they can’t seem to get on the same page about their future. This inability to communicate and compromise leads to a disheartening ending.
While the main cast all gave incredible performances, I couldn’t help but feel like something was missing. Typically, I would be moved by a film dedicated to this kind of story telling and diversity of characters, yet I left feeling quite apathetic. This story is one that is meant to move you, to take action, to build empathy, yet the final scenes lacked an emotional impact. On Swift Horses feels like a two hour proposal of ideas, but an unsatisfying examination of personal discontentment and the inability to truly be oneself.
On Swift Horses hits theaters on April 25.
