Horsegirls (2025)

-Written by Bryan Miller. 

2025 TRIBECA FILM FESTIVAL REVIEW!

Horsegirls, directed by Lauren Meyering and starring Gretchen Mol and Lillian Carrier, tells the story of Margarita, a 22-year-old autistic woman navigating responsibility, grief, and her deep passion for hobby-horsing.

I wish Horsegirls had been told from a different perspective, but I’ll return to that later. First, let’s break down the story. Margarita (named after the drink her parents were drunk on when she was conceived) is a horse-obsessed young woman with autism, played by newcomer Carrier. Her mother Sandy, played with quiet strength by Mol, is battling cancer and terrified about what will happen to her daughter after she dies. It’s a fear I deeply understand and connect with. In fact, I wish that had been the film’s central focus because to me, it was by far the more compelling story. But Writer-Director Meyering chose to focus on Margarita, and while that could have worked, it ultimately didn’t—at least not for me.

That said, let’s start with what did work.

The acting, especially from Mol, is a standout. She brings subtlety and emotional depth to Sandy, portraying a woman whose concern for her daughter eclipses even her fear of dying. Though Sandy is fighting for her life, her every move seems driven by the desire to ensure Margarita will be okay after she’s gone. I wanted more of this, more of that raw maternal fear, strength, and preparation. It’s a story worth telling in its own right.

On the technical side, Meyering and Cinematographer Natalie Kingston create a visually intimate experience. The cinematography slips us gently into Margarita’s world using natural and ambient lighting that feels lived-in and personal. Those quiet visual moments—without over-explanation—were often the most effective parts of the film.

I also appreciated the Horsegirls’ diverse cast. It’s refreshing to see such a wide range of characters and cultural representation. While I’ll get into some criticisms on this point later, there’s no denying the effort to surround Margarita with a vibrant, eclectic community. Even if their stories were underdeveloped, their presence still added texture to her world.

Unfortunately, that brings me to some of the film’s more significant missteps.

Despite my appreciation for the diversity, Horsegirls suffers from character overload. We meet: an autistic woman, her terminally ill mother, a boss from Pakistan, a co-worker with Down syndrome, a widowed African-American coach, and a stoic uncle (played by Tony Hale). Each character fits neatly into a recognizable mold, and their development feels superficial at best. By the film’s midpoint, it became almost predictable—like waiting to see which underrepresented background would be represented next. Worse still, these characters often appeared briefly, offering little substance before fading into the background. It’s a shame, especially with talents like Hale and Iqbal Theba, who were given precious little time to make any real impact.

Then there’s Margarita herself. Carrier gives an earnest performance, but the character’s emotional responses feel inconsistent. One moment she’s visibly distraught over the loss of someone Horsegirls barely introduces, and the next she’s nonchalantly asking for a ride to a competition as if nothing has changed. I wanted to root for her, to celebrate her wins and mourn her losses, but I didn’t. Her journey never fully connected with me emotionally.

That’s why I keep coming back to the idea that this story might have been better told from another point of view. A terminally ill mother preparing her autistic daughter for life without her. That’s a film I would have loved to see. Or a grieving widower who takes up hobby-horsing in honor of his late husband, another potentially powerful story left unexplored. Instead, we got glimpses of richer narratives while the focus remained on a central character whose arc never quite resonated.

In the end, Horsegirls is a film with potential and a few compelling performances, but it’s weighed down by clichés, underdeveloped characters, and a lack of emotional coherence. Still, it’s worth watching for Gretchen Mol’s nuanced portrayal and the film’s quiet visual moments.

Directed by Lauren Meyering.

Written by Mackenzie Breeden & Lauren Meyering.

Starring Lillian Carter, Gretchen Mol, Iqbal Theba, Jerod Haynes, Mackenzie Breeden, Tony Hale, etc. 

6 Hobby-Horses Out of 10 = WATCH IT FOR FREE