Emmy-winning filmmaker Stephanie Laing has built a career on finding humanity in unlikely places—whether through the biting satire of Veep or the emotionally layered storytelling of Physical. Now, with her latest feature “Tow,” Laing delivers her most grounded and galvanizing work yet: a true story about injustice, resilience, and the high cost of being unheard.
The film, which premiered at the Tribeca Film Festival last year and opened in theaters nationwide on March 20, 2026, tells the story of Amanda Ogle, an unhoused Seattle woman trapped in a bureaucratic nightmare after being hit with a staggering tow bill. Anchored by a transformative performance from Rose Byrne, “Tow” balances heartbreak with unexpected humor—and refuses to let its audience look away.
“I devoured the script in one night,” Laing tells Cinema Femme. “I was frustrated, honestly. Page after page, I kept thinking—how is this real?” That emotional reaction became her compass. “By the end, I felt hopeful. Amanda’s story proves that one voice really can matter.”
Building Truth Into Every Frame
Laing’s connection to the material was immediate, but her approach went far deeper than the surface. Working closely with the real Amanda and her family, she brought a wealth of lived-in detail to the film—elements that, in some cases, fundamentally reshaped the story.
“One of the first things I asked was, ‘Did anything go wrong legally?’” Laing recalls. “Kevin—the attorney portrayed by Dominic Sessa—told me, ‘I filed in the wrong court.’ That kind of honesty went straight into the script.”
That dedication to authenticity extended beyond the dialogue. Even the costumes carry emotional weight: Amanda’s daughter’s actual clothing appears on screen, grounding the film in a tangible sense of truth.
Following the writers’ strike, Physical creator Annie Weisman joined the project for a rewrite, helping to refine a narrative that feels as emotionally precise as it is politically resonant.
A Role Written in Instinct
Laing had only one actor in mind for Amanda: Rose Byrne. Having worked together extensively on Physical, Laing trusted Byrne’s ability to navigate complex emotional terrain.
“I knew it was Rose,” she says. “And thankfully, she agreed.”
Byrne immersed herself in the role, even traveling to Seattle to meet Amanda. The transformation was striking. “The first time I saw her, I thought—wow. We’ve never seen her like this before.”
With subtle physical changes and fearless emotional depth, Byrne disappears into the character. But as Laing emphasizes, the performance never leans into caricature. “We never play the joke. The humor comes from the situation.”
Finding Humor in Hardship
Despite tackling heavy themes—homelessness, addiction, systemic failure—”Tow” is often disarmingly funny. That tonal balancing act is intentional.
“I love a tricky tone,” Laing says. “It’s about trusting the material and letting characters be specific. People are funny because they’re human.”
The ensemble cast, including Octavia Spencer, Ariana DeBose, Dominic Sessa, and Demi Lovato, brings that philosophy to life. Their performances feel organic, never forced—allowing humor to emerge naturally from even the bleakest circumstances.
When Reality Changes the Ending
One of the film’s most memorable moments wasn’t scripted at all.
Originally, “Tow” ended on a triumphant note. But during filming, Amanda revealed a crucial detail: when she finally got her car back, it didn’t start.
“That changed everything,” Laing says. “We pivoted immediately.”
With limited time and resources, the team captured a single wide shot—simple, quiet, and devastating. “It became the ending,” she says. “And it’s better because it’s true.”
Systems That Fail—and the People Who Don’t
Beneath its character-driven narrative, “Tow” offers a sharp critique of systemic inequity.
“The price of being poor is so high,” Laing says. “You’re penalized at every turn. It’s incredibly hard to recover.”
She points to the dehumanizing complexity of bureaucratic systems—where something as small as a missed technicality can have life-altering consequences. But rather than leaving audiences in despair, Laing hopes the film inspires action.
“I want people to feel energized to fight,” she says. “And to recognize that when you find your community, your voice gets louder.”
From Pandemic Experiment to Creative Breakthrough
Laing’s previous feature, “Family Squares,” couldn’t be more different in form—but shares the same spirit of creative resilience. Shot during the COVID-19 pandemic, the film was made remotely, with actors filming themselves on iPhones.
“I joked that if I were Steven Soderbergh, I’d just send cameras to people,” Laing says. “Then I thought—why not?”
The result was a heartfelt, improvisational ensemble piece starring Henry Winkler, June Squibb, Judy Greer, and Margo Martindale, with narration by Rob Reiner. What began as an experiment became a time capsule of connection during isolation.
Advice for the Next Generation
Speaking to Cinema Femme’s audience of emerging filmmakers, Laing is candid about the realities of the industry.
“Don’t wait for permission,” she says. “You have to make your own opportunities.”
It’s advice forged through experience. From indie features to major television projects—including Palm Royale, Your Friends and Neighbors, and Stick—Laing has consistently carved her own path.
“You have to be irrationally passionate,” she adds. “You have to believe you can pull it off, even when it feels impossible.”
The Work—and the Fight—Continues
Making “Tow” was no easy feat. Shot in just 19 days, the production faced constant challenges—financial, logistical, and emotional.
“There was a moment halfway through where I thought, ‘Okay—we’re actually going to finish this,’” Laing says.
Now, with the film in theaters and resonating with audiences, that perseverance has paid off. “Tow” is more than a film—it’s a call to action, a portrait of resilience, and a reminder that even in broken systems, voices can still rise.
And when they do, they can be impossible to ignore.
