On Swift Horses

On Swift Horses is a stunning tableau of almost-romances, weaving together ephemeral moments of magic with the pain that inevitably follows when the universe takes them away.

Told in a style that could be called old-fashioned due to its lack of cynicism in an era when heartfelt melodrama is often mocked more than celebrated, it’s fair to call this engaging drama a throwback, a movie that wants to sweep you away on the back of its passion and heartbreak.

On Swift Horses finally achieves the emotional resonance it's been aiming for just a few minutes before the credits.

It’s a film that feels emotionally half-fulfilled, never quite grabbing or devastating in the way you’d hope.

Just when the central characters’ fascinating messiness achieves peak interest, you realize this movie’s earnest commercial shimmer is never going to segue into a denser, darker poetry.

On Swift Horses isn't a disaster, but given its stars and potential, it is a disappointment.

If there is any saving grace to “Horses,” beyond Luc Montpellier‘s often painterly cinematography and Jeriana San Juan‘s superb costume design, is its commitment to chronicling this era of hidden queer love.

Quiseram fazer um novo "Saltburn" com um Jacob Elordi assumidadmente mais gay, mas ao mesmo tempo muito menos corajoso. O roteiro vai se centrar no casal da família tradicional que, claro, irá desabar mais cedo ou mais ****, com o Jacob Elordi fazendo um irmão (do marido) meio "porra louca". Com pudor para filmar cenas gays e lésbicas, ao menos o roteiro oferece camadas amorais aos personagens principais. A questão do cavalo é chave, mas não tão forte assim a ponto de merecer uma cena final com Jacob adando a esmo, num filme que os põe justamente nessa eterna busca de si e por seus prazeres. Poderia ser mais, ainda que entretenha sempre e com um ritmo que segura bem as duas horas em tela.

With an unhurried pace, On Swift Horses explores the lives of two brothers (Will Poulter, Jacob Elordi) and the wife of the first brother (Daisy Edgar-Jones) as they pursue their passions in repressive 1950s America. All three of the main characters are deeply flawed yet complex, which keeps things unpredictable, but also frustrating at times. As a result, the story lacks an access character to fully bring you into the material, but the solid acting, and its self-assured visual style goes a long way toward keeping the audience engaged. Filmgoers looking for something beyond the formulaic, should definitely take note.

Daisy Edgar-Jones and Will Poulter play a seemingly happy couple living in 50s Kansas. Then his brother (Jacob Elordi) shows up rather seductively. Thus begins a drama that swirls around the wife and brother, as they explore their lives with a new perspective. His journey takes him gambling that involves a potential new love (Diego Calva). Her’s takes an equally expressive path, but to divulge much more would take from the story. The actors create involving characters and director Daniel Minahan has explored their frustrated lives effectively. The cinematography by Luc Montpellier is rich and lovely. The pacing is languid (sometimes too much so), but it allows each scenario to develop. Even with the life-altering moments, the film doesn’t achieve much dramatic heft until the final scenes, which prove touching and help make the film’s period exploration of gay life more meaningful and effective.

Me pareció visualmente atractiva y con una temática interesante. Tiene escenas muy apasionadas y una atmósfera envolvente, pero la historia nunca termina de ser lo suficientemente fuerte o impactante. Pudo haber dado mucho más.

A hedonistic, pleasure-seeking film, mostly thanks to the character played by Elordi and his attractiveness; he’s definitely not just a pretty face who brings nothing to the table. I do think he’ll deliver increasingly interesting performances in the future. They tried to have Muriel carry the film, but that girl came off as a mix between a cowardly woman and a feminist, and her character ended up being far too mild to drive the action. Beyond that, there aren’t any memorable performances, just ones that are “competently done.” The movie also has some outrageous plot holes and, in the end, very little actually happens. It’s a real shame, because the set design and cinematography were actually quite good, as were the themes they chose. At the very least, I’ll be left wondering whether the co-star was bisexual or lesbian.