In a year filled with large-scale blockbusters and fantasy escapism, Tow emerges as a grounded and emotional powerhouse — a true story of perseverance and injustice that premiered to standing ovations at the 2025 Tribeca Film Festival. Directed by Stephanie Laing in a striking feature debut and starring Rose Byrne, the film dramatizes the harrowing, yet inspiring, real-life events of Amanda Ogle, an unhoused woman in Seattle who fought a year-long legal battle to reclaim the only thing she had in the world: her 1991 Toyota Camry.
The film, which is now searching for distribution, is a stirring reminder of how easily vulnerable people can be swallowed up by broken systems, and how sheer determination can lead to redemption — and even Hollywood.
From Reality to the Big Screen
Amanda Ogle’s life was upended in 2017 when her car, which held all her worldly possessions, was stolen and later towed. When she went to retrieve it, she was told it would cost $427, a sum she couldn’t afford. That kicked off an exhausting legal ordeal lasting 369 days, ultimately culminating in a tow bill of over $21,000 after daily storage fees accrued. Despite a court ruling in her favor, the towing company had already sold the car — for just $175.
This incredible true story now plays out with dramatic force in Tow, with Rose Byrne delivering what critics are calling a career-best performance as Ogle. Fresh off her buzz-worthy role in If I Had Legs I’d Kick You, Byrne continues to shine with a portrayal that mixes quiet pride, pain, and hope.
A Human Portrait of the Unhoused
Rather than falling into cliché, Tow presents a nuanced view of homelessness, showing Ogle as a woman who doesn’t even fully accept her unhoused status — a portrayal that counters typical media representations. When her car is gone, she finds reluctant refuge in a women’s shelter run by Barb (a commanding Octavia Spencer), where she meets a vibrant group of residents: the rebellious Jocelyn (Lea DeLaria), the humorous Denise (Oscar winner Ariana DeBose), and the musically gifted Nova (Demi Lovato), who delivers a touching rendition of “Have Yourself A Merry Little Christmas”.
We also glimpse Amanda’s longing to reconnect with her estranged daughter Avery (played by Elsie Fisher) in Utah — a subplot that adds emotional depth and restraint, reminiscent of Stella Dallas but grounded in modern-day hardship.
A Standout Supporting Cast and Direction
Tow balances drama and humor with style, thanks to Laing’s confident direction and a strong supporting cast. Dominic Sessa (from The Holdovers) plays Kevin Eggers, the young, idealistic lawyer who takes on Amanda’s case after overhearing her plight. Simon Rex surprises in a sympathetic turn as Cliff, a compassionate tow employee, while Corbin Bernsen oozes legal apathy as the parent company’s slick corporate lawyer, Martin La Rosa.
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This ensemble creates a rich, dynamic backdrop that lifts the film beyond a simple underdog tale into something timely and emotionally resonant.
An Indie Gem in Need of a Home
Tow isn’t just another festival darling — it’s a compelling argument for the kind of small-scale human stories we see far too rarely on screen. With powerful themes of dignity, justice, and resilience, the film leaves audiences cheering and deeply moved. It’s a story that reminds us how something as small as a car can mean everything to someone, and how the legal system often fails those who need it most.
Produced by a stellar team including Byrne, Laing, and Amanda Ogle herself — now an executive producer — Tow is currently seeking distribution. It deserves a wide release and wide recognition.
Even streaming giants like Netflix would benefit from a film this grounded, urgent, and inspiring.
