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Indomables

Título original: On Swift Horses
  • 2024
  • R
  • 1h 59min
PUNTUACIÓN EN IMDb
6,0/10
2,7 mil
TU PUNTUACIÓN
POPULARIDAD
1302
16
Will Poulter, Diego Calva, Daisy Edgar-Jones, Sasha Calle, and Jacob Elordi in Indomables (2024)
Muriel and her husband Lee are about to begin a bright new life, which is upended by the arrival of Lee's brother. Muriel embarks on a secret life, gambling on racehorses and discovering a love she never thought possible.
Reproducir trailer1:01
4 vídeos
31 imágenes
DramaRomance

Muriel y su marido Lee, están a punto de comenzar una nueva vida, se ven afectados por la llegada del hermano de Lee. Muriel se embarca en una vida secreta, apostando a los caballos de carre... Leer todoMuriel y su marido Lee, están a punto de comenzar una nueva vida, se ven afectados por la llegada del hermano de Lee. Muriel se embarca en una vida secreta, apostando a los caballos de carreras y descubriendo un amor que nunca creyó.Muriel y su marido Lee, están a punto de comenzar una nueva vida, se ven afectados por la llegada del hermano de Lee. Muriel se embarca en una vida secreta, apostando a los caballos de carreras y descubriendo un amor que nunca creyó.

  • Dirección
    • Daniel Minahan
  • Guión
    • Shannon Pufahl
    • Bryce Kass
  • Reparto principal
    • Daisy Edgar-Jones
    • Jacob Elordi
    • Will Poulter
  • Ver la información de la producción en IMDbPro
  • PUNTUACIÓN EN IMDb
    6,0/10
    2,7 mil
    TU PUNTUACIÓN
    POPULARIDAD
    1302
    16
    • Dirección
      • Daniel Minahan
    • Guión
      • Shannon Pufahl
      • Bryce Kass
    • Reparto principal
      • Daisy Edgar-Jones
      • Jacob Elordi
      • Will Poulter
    Próximamente
    Se lanza el 25 de julio de 2025
    • 26Reseñas de usuarios
    • 68Reseñas de críticos
    • 65Metapuntuación
  • Ver la información de la producción en IMDbPro
    • Premios
      • 4 nominaciones en total

    Vídeos4

    Official Teaser
    Trailer 1:01
    Official Teaser
    Official Trailer
    Trailer 2:11
    Official Trailer
    Official Trailer
    Trailer 2:11
    Official Trailer
    On Swift Horses: 'Queen Of Hearts' With Daisy Edgar-Jones
    Featurette 3:30
    On Swift Horses: 'Queen Of Hearts' With Daisy Edgar-Jones
    On Swift Horses: Deeper Look With Daisy Edgar-Jones
    Featurette 3:23
    On Swift Horses: Deeper Look With Daisy Edgar-Jones

    Imágenes31

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    + 27
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    Reparto principal48

    Editar
    Daisy Edgar-Jones
    Daisy Edgar-Jones
    • Muriel
    Jacob Elordi
    Jacob Elordi
    • Julius
    Will Poulter
    Will Poulter
    • Lee
    Diego Calva
    Diego Calva
    • Henry
    Sasha Calle
    Sasha Calle
    • Sandra
    Don Swayze
    Don Swayze
    • Terence
    Ryan Fitzgerald
    Ryan Fitzgerald
    • Cat Faced Man
    Andrew Keenan-Bolger
    Andrew Keenan-Bolger
    • Rosie
    • (as Andrew Keenan Bolger)
    Jason Kravits
    Jason Kravits
    • Wayne
    Dan Martin
    Dan Martin
    • Eddie
    John Lee Ames
    John Lee Ames
    • Lewis
    Patrick Burch
    Patrick Burch
    • Race Cashier #2
    Dwayne Grady
    • Race Cashier #1
    Kat Cunning
    Kat Cunning
    • Gail
    Anthony Palermo
    Anthony Palermo
    • Man in a Fancy Suit
    Boone Platt
    • Roy
    Ted Barton
    Ted Barton
    • Skeets
    Chad Coe
    Chad Coe
    • Glen
    • Dirección
      • Daniel Minahan
    • Guión
      • Shannon Pufahl
      • Bryce Kass
    • Todo el reparto y equipo
    • Producción, taquilla y más en IMDbPro

    Reseñas de usuarios26

    6,02.6K
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    10

    Reseñas destacadas

    6saolivaresm

    He falls short in all his intentions.

    The adaptation of Shannon Pufahl's novel by Daniel Minahan with a script by Bryce Kass, leaves the feeling of a film that doesn't quite fit together, in which it seems to have good ideas, but not fully developed ones that end up leaving us with the feeling of a film that lacks strength.

    With a star-studded cast led by Daisy Edgar-Jones, Jacob Elordi, Will Poulter, and Diego Calva, they are the ones who allow the film to function in terms of intensity, thanks to their solid, dedicated performances. This relationship of indomitable characters is perfectly portrayed by the cast and sustains the weaker moments of the script.

    Daniel Minahan's direction is sensual and seductive, complemented by his excellent photography and artistic design, but it is also limited in what his script offers to exploit. We find ourselves with a decent script, but it doesn't explode when it seems it should and feels somewhat chained to the correctness of a proposal that should please everyone, rather than finding its own space and time to invite the viewer to be part of this game of forbidden, seductive, and incorrect romance. Unfortunately, this limitation prevents us from enjoying an intense drama, that of a period romance and the epic of romanticism that is sometimes so lacking in cinema.

    What's worth saying is that the film does have a feeling, and it brilliantly applies it to this forbidden love about sexual identity and finding oneself. It's a powerful vision of the fissures that simmer beneath the surface of the United States. It could have been much more intense, but that doesn't mean we're in the presence of an interesting proposal, one that, in its imperfection, hides the old Hollywood cinema it wants to resemble. At times, it succeeds thanks to its star-studded cast, and at others, it remains only with good intentions.

    It's a film worth giving a chance to, to bring out your own feelings and emotions.
    10thebwort

    Those Other User Reviews are Embarrassing

    On Swift Horses is a film about social control; how dominant collective ideology puts us in boxes and forces us to perform the status quo. As such, it's going to alienate a less discerning audience who, to be fair, have never questioned anything within their social lexicon.

    Whilst the other user reviews on here currently denote mainly the dangers in trying to introduce a film with a bit of meaning to the kind of people who watch maybe 10 movies per year (and, in particular years, 6 of those movies are Top Gun: Maverick) at a Cineplex promo screening best suited for crap starring Jason Statham, I can assure you that it is a very intentional and very thoughtful film.

    It's about the balance between being true to oneself and appeasing those around you out of fear of isolation and rejection; the gradual evaluation and awareness of such in one's own life and the amount of sacrifice that assimilating to your socio-economic peer group can entail.

    The plot of the film is already described in the synopsis and to say much more than that may inadvertently spoil it.

    Admittedly, the pacing is deliberate and the tone sombre, which, again, will alienate those who stare at Instagram reels all day. But for those who appreciate film whose form matches its content and that doesn't patronize its audience, they will find it rewarding.

    This is a film about nuance; about reading non-verbal cues; and, as the title suggests, about the balance between personal freedom and being a controlled rider of your own journey.

    We all have to decide if we want to race and enjoy it or take cautious steps without risk.
    7ferguson-6

    finding your way

    USA FILM FESTIVAL Greetings again from the darkness. One need only watch a couple of episodes of "Leave it to Beaver" to comprehend just how ideal and perfect family life in the 1950's was. Only that was a Hollywood façade and real life was much different, especially for anyone who wasn't a straight white male ... and even many of those served in the military during the Korean War and/or faced the pressure of being the sole breadwinner. Daniel Minahan (known mostly for his TV work) directs the screenplay from Bryan Kass (LIZZIE, 2018) who adapted the 2019 novel from Shannon Pufahl.

    Daisy Edgar-Jones (TWISTERS, 2024) stars as Muriel, a young woman who reluctantly accepts the wedding proposal from Lee (Will Poulter, DEATH OF A UNICORN, 2025; MIDSOMMAR, 2019). In keeping with the times, Lee assumes his dreams of a new house in the growing suburbs of California are shared by his new partner ... so he's a bit annoyed by her reluctance to sell her childhood Kansas house she inherited from her recently deceased mother. A third wheel pops up in the form of Lee's rudderless younger brother Julius (Jacob Elordi, PRISCILLA, 2023), who has recently been discharged from the Navy.

    An intriguing connection forms between Muriel and Julius, and it continues playing out through the entirety of the story. While Lee strives for the traditional American dream, Julius and Muriel separately maneuver through their own internal emotions that don't easily slide into the life respectable folks are expected to follow. Both have a bit of hustler in them as Muriel uses her alert ears during shifts as a diner waitress to pick up tips on the next horse race, while Julius capitalizes on his casino surveillance job - one that brings him money and love.

    Two excellent supporting roles are courtesy of Diego Calva (BABYLON, 2022) and Sasha Calle (THE FLASH, 2023). To disclose specifics would be to reveal spoilers that I refuse to serve up. What I can say is the story takes us from Kansas to California to Las Vegas to Tijuana. Along the way, we witness the challenges faced by those out of step with society. We see the deceits required as these characters walk the line between what's expected and the path to follow their own dreams. It can be heartbreaking and frustrating, and Minahan's film expertly shoots down the façade of the perfect 50's. The acting is superb, with Daisy Edgar-Jones seamlessly capturing the look of the era, while Jacob Elordi beautifully fulfills the more difficult role. This is a film for those who appreciate climbing inside the characters to understand their longing.

    Now playing in theaters.
    8michaelisking-66226

    Ride for God sakes!

    Ever heard the phrase "life's not meant to be managed, it's meant to be lived". I guess this movie shows it's a little bit more complicated sometimes, for some. It's a dance between managing and living. On the one hand everyone's trying to manage what others know about them and on the other hand taking great risks. Living on the edge. One character says that there's always the risk of losing it all. Nevertheless, some brave souls are willing to risk it all. For a chance at love, freedom, pleasure, connection, truth. A chance to be honestly seen and loved.

    Is this a great movie? That depends. There are great things about it for sure. The actors for one. The stories told. Fascinating stories of hidden lives, and of secrets. Now exposed to us. Beautiful cinematography! Some shots literally made me want to freeze the frame, take it all in, and then after a long pause, push play.
    5cinemapersonified

    Pretty Bad Movie

    Rating - 5.4: Overall, a lackluster, Oscar-bait period drama that is about characters exploring their sexuality in a time when it's taboo, but the movie does so in a surface-level way that provides no nuance to the issue and gives you no material to really care about these characters.

    Direction - Pretty Bad: The direction on a macroscale feels very similar to other period dramas like this; the direction on a microscale is pretty lackluster because the actors are giving emotion to material that has no substance or nuance; the storytelling is not good because the movie shallowly discusses the topic and doesn't really provide stakes that engage you

    Story - Bad to Pretty Bad: The concept is very surface-level and provides no nuance to these characters exploring their sexuality; the horse-racing storyline is poorly incorporated into the plot; the plot structure follows two parallel stories that intersect at points in the story; the two storylines do not really do a good job exploring the relationships of the characters; character writing is bad because it presents these characters exploring their sexuality in such a surface-level way that provides no nuance to why this was taboo in the 1950s, especially for Edgar-Jones' character

    Screenplay - Bad to Pretty Bad: The dialogue provides no substance as it is bland and boring; the symbolism is incredibly surface level and provides no nuance to these characters exploring their sexuality, especially Edgar-Jones' character; the foreshadowing is present

    Acting - Pretty Bad: Daisy Edgar-Jones - Pretty Bad (Gives a very surface-level performance; she doesn't really explore the character's sexuality at all and does not really have chemistry with any other characters; In a role that really depends on having good chemistry), Jacob Elordi - Decent (Gives a very surface-level performance; does an alright job exploring the character's sexuality, but it feels very forced and presents no nuance to the relationship's taboo; has alright chemistry with Calva, but very forced chemistry with Edgar-Jones), Will Poulter - Decent (Just a very standard, 1950s husband being cheated on, character; he does not really have chemistry with anyone), Diego Calva - Bad (Feels very forced and does not provide nuance to the character; it has very surface-level chemistry with Elordi), Sasha Calle - Decent to Pretty Good (Probably the best performance for the movie, which isn't saying a lot, because her character is somewhat believable and you can tell the struggle she's going through; she tries to build chemistry with Edgar-Jones, but it isn't reciprocated on the same level), Rest of the cast - Pretty Bad (Just a bunch of formulaic period drama performances)

    Score - Decent: Helps set the tone

    Cinematography - Pretty Good: The movie is well-shot and feels polished

    Editing - Pretty Good: Feels polished and well-edited

    Sound - Pretty Good

    Visual Effects - Pretty Bad: The fact that they had to CGI the horses shows what is wrong with Hollywood right now

    Pacing - Pacing is very slow because it doesn't feel like anything is happening; I would have liked to have seen them add more time to explore these parallel storylines and provide more depth, or just cut one of the storylines altogether

    Climax - Climax is decent for how heartwarming it is

    Tone - Tone feels like a typical period drama that's Oscar-bait;

    Final Notes - Saw the U. S. premiere at SXSW.

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    Argumento

    Editar

    ¿Sabías que...?

    Editar
    • Curiosidades
      Based on the novel of the same name by Shannon Pufahl. The character of Muriel (played in the film by Daisy Edgar-Jones) was inspired by Pufahl's grandmother and her experiences in the world of gambling in the 1950s.
    • Banda sonora
      Mr. Blue
      Written by DeWayne Blackwell

      Performed by Loren Kramar featuring Amber Coffman and Zsela

      Guitar Solo by Sean O'Brien

      Produced by Sean O'Brien

      Courtesy of Secretly Canadian

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    • How long is On Swift Horses?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 25 de julio de 2025 (España)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • Títulos en diferentes países
      • On Swift Horses
    • Empresas productoras
      • Ley Line Entertainment
      • FirstGen Content
      • Cor Cordium
    • Ver más compañías en los créditos en IMDbPro

    Taquilla

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    • Recaudación en Estados Unidos y Canadá
      • 1.030.558 US$
    • Fin de semana de estreno en EE. UU. y Canadá
      • 542.360 US$
      • 27 abr 2025
    • Recaudación en todo el mundo
      • 1.174.247 US$
    Ver información detallada de taquilla en IMDbPro

    Especificaciones técnicas

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    • Duración
      1 hora 59 minutos
    • Color
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