Daniel Minahan’s *On Swift Horses* presents a film of contrasting strengths. While it avoids being a complete failure, certain narrative choices feel underwhelming. The film’s power to stir emotion suggests promise, however, its depiction of ‘forbidden love’ in the 1950s is somewhat muddled. The storytelling stumbles, hindered by moments of superficiality. Muriel, the central character, initially resembles Charulata, embodying a longing unmet by her marriage. Her brother-in-law’s arrival triggers her desires. Simultaneously, Julius, experiences his sexuality in Las Vegas, the scenes with Henry offering a more compelling narrative. Muriel’s marriage to Lee feels plot-driven. The contrast between Lee and Julius is emphasized to encourage Muriel’s attraction. The film is filled with a melancholic atmosphere. However, the plot feels contrived. The introduction of a secret relationship between Muriel and her neighbor, Sandra, adds another layer of complexity. The fragile connections within *On Swift Horses* are occasionally weakened by the writing. The actors’ performances deserve a more robust narrative.
Review: ‘On Swift Horses’ – A Perplexing Exploration of Desire and Identity
By The Chhattisgarh1 Min Read