Actors Daisy Edgar-Jones and Will Poulter are shining in On Swift Horses, one of the most anticipated films at the Toronto International Film Festival (TIFF). Set in the 1950s and directed by Daniel Minahan, the film delves into love, self-discovery, and the complex dynamics of relationships. Edgar-Jones and Poulter, alongside Jacob Elordi, are at the center of this layered period drama that explores themes of identity, desire, and societal expectations in post-war America.
Edgar-Jones, who portrays Muriel, recalls her initial attraction to the film. “I was drawn in by the producers. They were behind Call Me By Your Name and Nomadland, two films I deeply admired,” she said. She also mentioned the beauty of the script: “It’s lyrical, intimate, and captures the nuances of love and personal growth.” On top of that, the star-studded cast further solidified her interest. “When I heard about Will, Jacob, Sasha [Calle], and Diego [Calva], it felt like such a special opportunity to work with an incredible ensemble in a period piece.”
The film, based on Shannon Pufahl’s 2019 novel, follows the intertwined lives of Muriel, her husband Lee (played by Poulter), and his brother Julius (Elordi), both of whom return from the Korean War. The story begins in rural Kansas and soon shifts to California and Las Vegas, where different paths and desires emerge. Muriel, though married to Lee, develops a deep fascination with Julius. The attraction evolves, while Julius starts a passionate relationship with Henry (Calva), a risk-taker who pulls him into an increasingly dangerous life in Las Vegas.
Muriel’s internal journey is central to the story. “There’s something about Julius that ignites something in her,” Edgar-Jones shared. “It’s a mix of attraction and the recognition of something in herself that she hasn’t fully understood yet. Her life starts to change subtly, especially through her secret gambling and her growing awareness of her own desires.” The character’s journey, according to Edgar-Jones, is about more than just romantic or sexual tension. It’s about “finding small moments of autonomy and strength” in a society that often stifled women’s independence and self-expression.
Poulter’s character, Lee, presents a different angle on the same era. “Lee embodies one version of the American dream,” Poulter explains. “He’s following the traditional path—getting married, working hard, and striving for a stable life. But his perspective is limited by the expectations of that time, especially around gender roles and sexuality.” Lee’s relationship with his brother Julius, however, adds layers to his character. “There’s love between them, and that closeness gives Lee a broader understanding of sexuality, even if he doesn’t fully grasp it himself.”
Both actors praised Minahan for grounding them in the period and its challenges. “Dan was a walking encyclopedia of the 1950s,” Poulter said. “He was meticulous about the cultural and societal pressures of that time, especially regarding the queer experience.” Edgar-Jones agreed, adding, “It’s invaluable when a director is so immersed in the material. Dan’s passion for the era and the characters brought so much authenticity to the film.”
Despite the film being set in mid-century America, both actors found its themes universally relatable. “We may be British, but these are stories we grew up with through classic American cinema,” Edgar-Jones remarked. “The ambition for a better life and the need to live authentically transcends time and place,” Poulter added, noting that the characters’ journeys, though rooted in the 1950s, resonate with modern audiences.
What sets On Swift Horses apart from other period dramas is its hopeful tone, despite the characters’ struggles. “It doesn’t tie everything up neatly,” Edgar-Jones observed. “There’s still more to come, more growth ahead for these characters, but there’s this undercurrent of hope.” Poulter echoed this sentiment, emphasizing the film’s positive depiction of queer life in contrast to many historical narratives. “So often, stories about queer individuals in the past end tragically. This film doesn’t shy away from the hardships, but it doesn’t end in despair. It’s a reminder that while the journey is difficult, it doesn’t always have to end in sorrow.”
Ultimately, On Swift Horses offers a poignant reflection on love, identity, and the quest for authenticity. With its rich performances, stylish direction, and thoughtful exploration of the period, the film is likely to resonate with audiences far beyond TIFF. Edgar-Jones and Poulter’s nuanced portrayals, along with their insights into their characters’ complexities, promise to make On Swift Horses a standout film of the year.
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