Daniel Minahan’s film *On Swift Horses* elicits a mixed response. While not entirely unsuccessful, some of its plot elements feel underdeveloped. The film’s capacity to provoke a strong reaction indicates potential, yet it struggles to navigate the complexities of 1950s ‘forbidden love.’ The narrative falters, encountering superficial hurdles. Muriel, the heroine, evokes comparisons to Charulata, with a yearning her marriage cannot fulfill. The arrival of her brother-in-law ignites her desires, leading her to break societal norms. Meanwhile, her brother-in-law, Julius, explores his sexuality in Las Vegas. The scenes of Julius with Henry are more engaging than the rest of the film. Muriel’s marriage to Lee is portrayed as convenient for the plot. The contrasting personalities of Lee and Julius serve as a catalyst for Muriel’s attraction. The film’s melancholic mood is consistently present, yet the narrative feels somewhat over-planned and lacks depth. The inclusion of a relationship with her neighbor, Sandra, alongside her attraction to Julius, adds complexity. The film’s exploration of delicate relationships is sometimes undermined by weak writing. These characters deserve a better-written script.
