Les Indomptés

Languidly directed by Daniel Minahan, this 2025 period melodrama felt true to the tale's mid-century setting with a clear nod to the overripe 1950's epics of Douglas Sirk. Only Bryce Kass' screenplay doesn't rely on a conventional romantic triangle at its emotional core but rather the clandestine parallel paths taken by two of the principals in pursuing each of their same sex proclivities. The plot starts predictably enough with Muriel and Lee, a young couple struggling to start a new life after his service in the Korean War ends. However, things get complicated with the unexpected arrival of Lee's aimless brother Julius. As embodied by Jacob Elordi in his usual smoldering fashion, Julius is charismatic and elusive as he heads to Vegas and embarks on a forbidden affair with Henry, a fellow gay casino employee. Meanwhile, Muriel keeps her own secrets, becoming an avid gambler and having a tryst of her own with her lesbian neighbor Sandra. That all leaves Lee in an awkward in-between situation but with a resonant level of awareness. Daisy Edgar-Jones plays Muriel with welcome subtlety and a subliminal fierceness, while Will Poulter portrays Lee with palpable empathy. The pacing felt slow until the last third when Minahan took a more elliptical approach in addressing the various character fates. Luc Montpellier's lush cinematography was a significant plus.

On Swift Horses is a slow-burning, atmospheric drama about love, secrets, and self-discovery. The film's strength lies in its strong performances and beautiful cinematography, which capture the quiet intensity of the characters' emotions. While the pacing is deliberate and may feel too slow for some, the emotional depth and subtle storytelling make it worthwhile. It's a thoughtful film that lingers after the credits, exploring themes of longing and identity with sensitivity.

Synopsis: 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.

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.

My wife and I watched On Swift Horses (2024) in theaters. The story follows two individuals entangled in complicated relationships-with others and with themselves. As they navigate a journey of self-discovery, they begin to realize that their shared sexual fluidity may be what ultimately draws them together.

Directed by Daniel Minahan (Deadwood: The Movie), the film stars Daisy Edgar-Jones (Normal People), Jacob Elordi (Euphoria), Will Poulter (We're the Millers), and Diego Calva (Babylon).

This is a well-crafted period piece that captures the era beautifully, especially in its portrayal of societal expectations and norms. The acting is top-tier-each actor is well-cast and fits their role convincingly. The premise has real potential, and the film thoughtfully explores the internal struggles and evolving identities of its characters.

That said, the love story didn't resonate as strongly as I'd hoped. Some of the chemistry feels authentic, while other relationships fall flat and lack the depth they seem to be reaching for. By the end, the film leaves you wanting more-emotionally and narratively.

In conclusion, On Swift Horses is a smart and well-executed film that doesn't quite hit its full potential. I'd give it a 6/10 and recommend seeing it once.

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.