Tow

It’s quite evident by now that Rose Byrne is an actress of outstanding range and various textures. In Two, written and directed by Stephanie Laing, Byrne returns as a mother enduring an emotional crisis, pushed to her limits as the forces of nature conspire against her. Fresh off her brilliant performance in Mary Bronstein’s exceptional If I Had Legs I’d Kick You—which generated a Best Actress Oscar nomination—her latest performance in Two is every bit as emotionally raw and resilient. Sadly, because Tow is a much smaller indie with a distributor like Roadside Attractions, Byrne likely won’t generate the same Oscar buzz as last year, and modern film buffs may overlook it. Nevertheless, I hope this film is discovered in the years to come; it’s an essential character study with resonant things to say about poverty and income inequality.

Byrne plays Amanda Ogle, an unemployed Seattle woman who holds a veterinary tech license. During interviews, she is frequently dismissed for lacking a formal college degree or “sufficient” experience, despite being clearly well-versed in the field. Her expertise eventually shines through at a dog grooming spa, where she lands a job. Her role involves transporting dogs from their homes to the facility for grooming. Having spent months searching for work, Amanda has been living out of her 1991 Toyota Camry. We also sense her struggle to maintain sobriety; the film frequently places alcohol in the foreground and background, symbolizing the constant temptation she faces.

Courtesy Roadside Attractions

After a successful interview, Amanda walks out to find that her car is missing from the parking lot. She soon discovers it was stolen and recovered, only to be impounded by a local towing company. To retrieve it, she must pay a $300 fine that increases with every passing day. The loss of her vehicle is catastrophic; it not only prolongs her homelessness but prevents her from starting the new job, where reliable transportation is required to pick up clients’ dogs.

Rex (Simon Rex), a sympathetic staff member at the tow yard, allows her to take personal possessions from the Camry, but he is powerless to release the vehicle itself. Amanda’s struggle against the system intensifies as she secures a court order to reclaim the car after days of bureaucratic delays. However, the towing company owner, Martin La Rosa (Corbin Bernsen), complicates matters by auctioning the vehicle and tacking on new fees, making it nearly impossible for Amanda to get her car back.

Courtesy Roadside Attractions 

Amanda eventually teams up with Kevin (Dominic Sessa), a young lawyer at a non-profit, to sue the towing company. However, La Rosa uses his wealth and influence to delay the legal process for an entire year. He even threatens Kevin, claiming he will use his leverage to bankrupt the non-profit firm.

Amidst this anxiety, Amanda moves in and out of a women’s homeless shelter managed by Barb (Octavia Spencer). Barb is a strict but compassionate leader who provides a safe haven, though she maintains a firm rule: women are not allowed back if they backslide into the vices that led them there. Supporting performances by Lea DeLaria, Bree Elrod, Demi Lovato, and Ariana DeBose round out an ensemble of women struggling with various personal crises, adding depth to this harrowing portrayal of the American safety net.

Like If I Had Legs I’d Kick You, the anxiety and stress of Byrne’s protagonist keep mounting, punctuated by a montage of her spending hours, days, and months making endless phone calls. Tragically, this bureaucratic nightmare costs Amanda the opportunity to see her estranged daughter, Avery (Elsie Fisher), during the holidays. Avery serves as the emotional center of the film, providing the motivation for Amanda to remain resilient in her quest to retrieve her car, sustain her livelihood, and ultimately recoup her life. The movie is a compelling character study with a Frank Capra spirit, as it explores “the little guy” taking on a corrupt system through solidarity and community. There are many tender exchanges between Byrne and the entire cast, especially in her scenes with Simon Rex and Dominic Sessa. Ultimately, Tow is a relief to see—a film that speaks truthfully about the struggles of American homelessness and the power of staying resilient through collective support.

Tow is now playing in limited theaters