When “On Swift Horses” played a secret show at the Palm Springs Film Festival in January, at least half Dzina came out of people, not because it is bad, but because a certain group of fans of open art usually did not participate in a gay love story. For this reason, it seems to be the opposite of the spoiler-something between the consumer service and the sale point-for the treatment of what the festival capsules mean only well, using phrases such as “self-discovery” (Toronto) and “Exploration of Love that you have never dreamed of” (SXSW).
The drama of director Daniel Minhman, which was adapted from the respected novel written by Shannon Boufal, explores the challenges of going out in the fifties of the last century, as two people were not attracted to each other-because these actions are deceptive to deliberately were thinking-but for sellers. Knowing that this allows you to focus on the suggested clumsy tension between Julius (ELORDI) and his son -in -law, which will soon become Morel (Daisy Edgar Jones), but the kinship discovered by these inappropriate souls in a secret era.
It was granted, there is a passing chemistry between these two letters when Julius appears, a new Korean war, at the door of his older brother (Will Polater). Morel notes him first without a shirt, and extended to the hood, just as it pretends to be a kind of Bruce Weber’s photos (later, and his opinion on the bed in the Renault Hotel room, I swept Minahan and Dink Dubai Luke Moneller shooting Califin Klein’s advertisement, not the production of Sharia killers).
Julius is one of those buttons that head towards flyers who run the heads anywhere, but the amazing as it seems Eleordi, it is outside its emotionally deep. Edgar Jones performs a more accurate performance, as Moreyle, who feels, moves when he suggests to me, and fascinating, it detects little by little how she goes out to a more desire-not only sexually, but as an independent woman at a time when social standards were directed single women towards the altar.
During the few days they spend together, Morel and Julius make a relationship that she completely expects to honor when she marries her guardian – the strong and reliable type. I may have a disappointment, but Polater gives a man’s dimension (the way Anne Hathaway did her character in “BrokeBack Mountain”). With the distinctive features of the actor and Boomdadd Ashkar tall, Polater looks more as it belongs to the age in question. He really loves me, Morel, and he took every step with an understanding that they were taking together, while he was actually pressing her to follow his dreams, as it is when she is asked to sell family property so that they could buy a new house in San Diego.
The plan for Julius was to follow there, so the three could start a new life together. But the only thing that can be predicted in Julius is that he will always disappoint you – and certainly, it is moved on the road, and finds work in the Renault Casino instead. This is where the title comes in this arranged drama, often artificial: in addition to the fond homosexual desires that Morel and Julius wrestle, what they really share is the taste of gambling. Is it the possibility of a rich hitting, or the risk of arresting everything below it? Perhaps both, but you cannot resist a good bet.
Moriel seems to be more fortunate among the two, according to her success in the horse track (really, it is just an interest in her dinner and put their advice to work). But to the extent that PUFAHL and screenwriter Brece Cass believes in luck, he must be judged by more than just easy money, easy to go through their hands. There is also the illegitimate that they test, as each of them meets a special person enough to threaten the lives they built for themselves – and this is the largest gamble for all of them, with confidence in a feeling forbidden enough to follow this, when society prohibits this.
For Morel, the temptation comes completely unexpected, when you stop buying olives on a neighboring farm, immediately fond of the Latin woman who comes to the door. Sandra (Sasha Kali) does not define herself as lesbian – at this stage, this idea seems completely strange to the experience of Morel’s life anyway – but it stands on the balcony, and extends an open palm of this stranger to spitting olive hole, it can become a person of both sexes that can become easily separated.
Meanwhile, in Renault, Julius meets someone who makes him want to settle. But Henry (Diego Calva) is even more clear than Julius. As a Mexican in 1950 in California, he was offended for a long time, focusing more on overcoming the system than starting a meaningful relationship with Julius. There is a stream of tragedy that works under all husbands here, as the characters create obstacles to their happiness. You can feel a little repeated sometimes, as if the novelist puts love their love and then fail. But there is also hope, however, the last scene may feel, there is poetry watching someone betting on his future on another horse.