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On Swift Horses (2024) – The Lesbian Slow-Burn That Actually Delivers
Okay, let’s be real for a second. How many times have we sat through movies that tease “queer vibes” in the trailer, only to give us a pathetic half-hug and a fade-to-black? Too many. That’s why when I heard about On Swift Horses (2024), I was cautiously thirsty… and girl, this one actually quenched it.
Set in the dusty, repressed 1950s, the film follows Muriel (Daisy Edgar-Jones), a young woman who marries Julius (Jacob Elordi, looking unfairly hot in period suits) after his return from the Korean War. They move to California, meet his charming but secretive brother Lee (Diego Calva), and then… enter Nadine (Sasha Calle doing the most delicious femme-fatale energy you’ve ever seen).
The second Muriel locks eyes with Nadine in that smoky Las Vegas casino, you feel it in your chest. This isn’t subtext. This isn’t “gal pals.” This is full-on, breath-catching, “I want to ruin my entire life for you” lesbian desire. And the film doesn’t chicken out.
What makes On Swift Horses different from every other “period lesbian movie” is that it never treats the attraction like a tragedy to be cured or a sin to be punished. Yes, it’s the 1950s. Yes, they have to hide. But the camera lingers on every stolen glance, every brush of fingers, every moment Muriel chooses Nadine over the safe, straight life she’s supposed to want. It’s horny in the way only repressed 1950s lesbians can be horny – quiet, intense, and devastating.
Daisy Edgar-Jones deserves every award for how she plays Muriel’s awakening. You can literally see the moment she realizes “oh no, I’m not bored of marriage… I’m just gay.” Her wide-eyed innocence slowly melts into something hungrier, braver, and honestly iconic. And Sasha Calle as Nadine? I need a cigarette after every scene she’s in. She’s magnetic – all red lips, sharp cheekbones, and that knowing smirk that says “I could destroy you and you’d thank me.”
The film also doesn’t ignore the men entirely (sorry boys), but they’re clearly the B-plot. Jacob Elordi’s Julius is the walking embodiment of 1950s toxic masculinity wrapped in a pretty package, while Diego Calva’s Lee is the soft, wounded soldier who senses something is off but can’t quite name it. The brothers are interesting… but let’s not kid ourselves, we’re all here for the girls.
Visually? Stunning. The desert sunsets, the neon casino glow, the way sweat beads on their skin in the Vegas heat – every frame is dripping with that particular lesbian ache of wanting someone you’re not supposed to have. The slow-burn pacing might frustrate people who need everything spelled out in the first ten minutes, but for those of us who live for tension, it’s perfect. When they finally kiss? I actually gasped in the theater. And yes, it’s a real kiss. Tongues and everything. In 2024? Revolutionary, I know.
Look, On Swift Horses isn’t a perfect movie. Some of the gambling subplot drags a little, and the ending might leave you screaming at the screen (in the best way). But as a lesbian who’s spent years collecting crumbs from straight directors, this felt like a full meal. It’s sensual, heartbreaking, and unapologetically queer in a way that big studio films rarely dare to be.
If you’re tired of movies that bait you with “strong female friendships” and then marry them off to men, do yourself a favor and watch On Swift Horses. Bring tissues. And maybe a girlfriend – you’re gonna want to hold someone’s hand during that final scene.
Honestly? We need more films like this. Films that trust their audience to handle grown-up lesbian love without needing to water it down for the straights. Until then, I’ll be over here rewatching Muriel and Nadine’s casino scene on repeat.
Have you seen On Swift Horses yet? Are you as obsessed as I am? Drop your thoughts in the comments – I need fellow gays to scream with.
(And yes, this is your sign to go watch it right now. You’re welcome.)
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