| Tow | |
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| Directed by | Stephanie Laing |
| Written by |
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| Produced by |
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| Starring | |
| Cinematography | Vanja Černjul |
| Edited by |
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| Music by | |
Production companies |
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Release date |
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Running time | 105 minutes |
| Country | United States |
| Language | English |
Tow is a 2025 American drama film directed by Stephanie Laing, written by Jonathan Keasey and Brant Boivin, and starring Rose Byrne, Dominic Sessa, Demi Lovato, Ariana DeBose, Octavia Spencer, and Simon Rex.
The film premiered at the 2025 Tribeca Festival on June 7, 2025.
Amanda Ogle, a homeless Seattle woman, fights her way out of tow-company hell to reclaim her life and the car that held it all together after receiving a tow bill for $21,634.
In February 2024, it was announced that Rose Byrne was cast in the film, which she would also produce. [2] Later that same month, it was announced that Dominic Sessa was cast in the film. [3] In March 2024, it was announced that Demi Lovato was cast in the film. [4] In April 2024, it was announced that Ariana DeBose was added to the cast. [5] It was also announced that same month that Octavia Spencer was cast in the film. [6] Later that same month, it was announced that Simon Rex was also cast. [7]
Filming occurred in Cranford and Bayonne, New Jersey in April 2024. [8] [9]
Tow is set to have its world premiere at the 2025 Tribeca Festival during the Spotlight Narrative section. [10] In September 2025, the film's U.S. distribution rights were acquired by Roadside Attractions and Vertical for a 2026 release. [11]
On the review aggregator website Rotten Tomatoes , 100% of 13 critics' reviews are positive. [12]
Christian Zilko of IndieWire graded the film a B-. [13] Pete Hammond of Deadline Hollywood gave the film a positive review and wrote, "Ultimately, Laing and company deliver a story of perseverance, heart, and real fight, the kind of small human story we see less frequently these days, but need now more than ever. Tow is a winner". [14] Lovia Gyarke of The Hollywood Reporter also gave the film a positive review and wrote, "Still, in its modest way, Tow sends a powerful message about how many of us have more in common with a person sleeping in a car than we do the billionaires we've been conditioned to admire". [15]
