Amanda Ogle’s life was upended in 2017 when, living unhoused in Seattle out of her aging 1991 Toyota Camry, her last remaining possession was stolen and subsequently towed. What followed was a relentless 369-day legal battle against a bureaucratic maze of corporate tow companies that culminated in a final bill of $21,634—all over a car she no longer owned. Now, seven and a half years later, Ogle’s real-life odyssey has been transformed into a compelling movie that had its world premiere at the 2025 Tribeca Film Festival, starring Rose Byrne and featuring a stellar supporting cast that includes two Academy Award winners.
Titled Tow, the film marks the directorial debut of Stephanie Laing and tells the riveting story of a woman who refused to give up, even when the system did everything it could to erase her. Byrne, fresh off her acclaimed performance in If I Had Legs I’d Kick You, once again delivers a powerful portrayal, embodying Ogle with authenticity and dignity. The film is more than just another inspirational narrative—it’s a rallying cry for justice, resilience, and the overlooked humanity of the unhoused.
The story begins with Amanda’s desperate effort to reclaim her car after it was stolen and then towed by Dick’s Tow, a company owned by Road One West. Lacking the $427 fee to retrieve it, she was handed a form to request a review, only to find herself entangled in a legal quagmire due to a paperwork error involving a subsidiary called Lincoln Tow. Though a judge ultimately ruled in her favor, Dick’s Tow had already sold her car for $175 and continued charging $75 per day for storage, totaling over $21,000 by the time the case ended.
Laing and her screenwriters, Jonathan Keasey and Brant Boivin, transform this bureaucratic nightmare into a gripping cinematic experience. The movie doesn’t just recount a legal battle—it paints a vivid picture of daily life on the margins, chronicling Amanda’s quiet defiance against a society that tries to erase people like her. Supporting roles by Octavia Spencer as a strict yet nurturing church shelter manager, Demi Lovato (who also sings a poignant rendition of “Have Yourself A Merry Little Christmas”), Lea DeLaria, and Ariana DeBose add depth to the narrative.
The film also explores Amanda’s strained relationship with her daughter Avery (played by Elsie Fisher), who lives in Utah and is unaware of her mother’s homelessness. These emotional beats avoid sentimentality, instead offering a grounded, intimate portrait of a mother’s hope and heartbreak.
Colorful side characters enhance the movie’s appeal, especially Dominic Sessa as Kevin Eggers, a young, idealistic lawyer who takes on Amanda’s case after overhearing her story. Simon Rex offers a sympathetic turn as a tow yard employee who displays rare empathy, while Corbin Bernsen exudes slick corporate indifference as the parent company’s lawyer, more interested in his golf swing than justice.
Ultimately, Tow is a film that rises above its humble premise. It’s a deeply human drama that sheds light on a broken system while celebrating the inner strength of one woman who refused to be broken. With movie characters that feel richly authentic and a story that resonates with the urgency of real life, Tow is the kind of feel-good film that doesn’t pander—it inspires.
With Amanda Ogle credited as Executive Producer, her story is finally receiving the platform it deserves. The film is currently seeking distribution, and its triumphant premiere suggests it won’t be long before wider audiences get the chance to see it.
This isn’t just another feel-good movie—it’s a victory lap for those who fight with nothing but determination. Don’t miss it. And if you’re a fan of compelling movie reviews, this one deserves your attention.
