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    Filmmaker Spotlight

    Dallas filmmaker Rachel Shepherd knows the best things in life are messy

    Jessica Tomberlin
    May 16, 2014 | 1:19 pm

    For Dallas filmmaker Rachel Shepherd, storytelling has always been a part of her life. A voracious reader from a young age, she devoured the unpublished manuscripts of romance novels written by her mother.

    “She had this colorful way of describing things, and her stories always read so poetically,” says Shepherd, who recently celebrated the world premiere of latest feature film, About Mom and Dad, at the 2014 Dallas International Film Festival.

    Shepherd’s relationship with her mother — as well as her father — continues to influence her work today. This is especially evident in About Mom and Dad, a story borne from Shepherd’s own experience of coping with planning her wedding around the same time that her parents’ marriage was unraveling due to infidelity. Eventually her parents reunited, strengthening their relationship as well as Shepherd’s own understanding of love and marriage.

    “Nothing that’s worth anything comes easy,” says Shepherd of her latest feature film, About Mom and Dad.

    “I wanted to show that in a marriage not everyone is a hero or a villain, not everyone who makes mistakes necessarily does it to harm the other person,” she says. “A love story can be about the people and not the incident. The best things in life are messy. Nothing that’s worth anything comes easy.”

    Although writing is her first love — something she’s been actively doing since the third grade — Shepherd developed the courage she needed to pursue her dream of becoming a filmmaker as a student in the Tisch School of the Arts at NYU, during a directing class. She had always wanted to direct, but it terrified her.

    “Being in that class and seeing what makes a really great actor, I knew I wanted to direct an actor to do those things,” she says. “The greatest fun in life is living your fear, so I have a great time directing because it terrifies me.”

    In 2007, Shepherd had completed her studies at NYU and was working in television in New York when her husband, a medical student, was accepted into a residency program in Texas, where they both grew up. They moved back home, and Shepherd enrolled in the master’s program for filmmakers at the University of Texas at Arlington.

    Despite later dropping out of the program to make her first feature film, Traveling, Shepherd made lasting connections during her time at UTA, including cinematographer Bret Curry, who worked on both of her feature films. Shepherd also counts Dallas actor and producer Farah White among her core group of collaborators.

    “As a director, it is your job to bring everyone together and create the look and feel, and it’s your words and it’s your vision, but you have to understand that it’s a machine,” she says. “You’re the key that turns the machine, but every other person is equally important.”

    ​“The greatest fun in life is living your fear, so I have a great time directing because it terrifies me,” Shepherd says.

    Shepherd learned that lesson the hard way, when she tried to do everything herself on Traveling. “With About Mom and Dad, I learned how to let go,” she says. “I turned a lot of things over to my producers.”

    The decision to premiere the film at the 2014 Dallas International Film Festival came more out of Shepherd’s love for the Dallas film community than her desire to promote the film it on the festival circuit. She premiered Traveling at the festival in 2011, so it has become almost like a tradition for her.

    “If the Dallas International Film Festival will have me, I will premiere every one of my movies there,” she says Shepherd. “They were the first festival to support me, and they continue to support and exhibit work that comes from the vibrant, deep community of filmmakers here in Dallas.”

    Although you may not have a chance to see About Mom and Dad on the big screen again anytime soon, Shepherd and her crew are currently pitching it to cable stations in hopes of releasing the film on television and later rolling it out to other video-on-demand outlets.

    “Our goal for the movie has always been television,” she says. “I don’t really see it as a film made for theatrical release. Some of my favorite movies are Hollywood movies, so I’m a huge fan of that system; it’s just not where my work will ever be.

    “But that’s the great thing about being a filmmaker: There are all these different voices, and when we sing together, it’s this crazy discord of unharmonious sound. But if we each get a voice out there, it makes a beautiful symphony, and I’m just so proud to be a part of it.”

    Filmmaker Rachel Shepherd on the set of her first feature film, Traveling.

    Photo courtesy of Rachel Shepherd
    Filmmaker Rachel Shepherd on the set of her first feature film, Traveling.
    unspecified
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    Movie Review

    Rose Byrne fights for her life and car in new movie 'Tow'

    Alex Bentley
    Mar 20, 2026 | 10:45 am
    Rose Byrne in Tow
    Photo courtesy of Roadside Attractions
    Rose Byrne in Tow.

    Actor Rose Byrne had a banner year in 2025, getting her first Oscar nomination for her starring role in If I Had Legs, I’d Kick You. Although she came up short in that race, she’s getting another chance to prove her acting bona fides in the new film, Tow.

    In the “inspired by a true story” movie, Byrne plays Amanda, a down-on-her-luck woman who lives in her car and can’t find a job. Living in Seattle, she tries to stay in touch with her daughter, Avery (Elsie Fisher), who lives with her dad in another city, but circumstances sometimes limit their communications, especially when her car is stolen.

    The good news is that her car is found relatively quickly. The bad news is that the tow company is charging her to get her car back, money she can’t afford. Now truly homeless, she does everything in her power to right the wrong, even taking the company to court. Without much luck, she has to start staying in a women’s shelter run by Barbara (Octavia Spencer), where she makes friends with Nova (Demi Lovato) and Denise (Ariana DeBose), among others.

    Directed by Stephanie Laing and written by Jonathan Keasey and Brent Boivin, the film has relatively low stakes going for it and never really tries to make the story feel deeper than it is. The situation Amanda finds herself in is clearly a tough one, and any empathetic person would feel for her and want her to overcome her plight. But the filmmakers keep things light and never try to up the drama in any significant way.

    The issue Amanda is dealing with, being price gouged by a predatory towing company, is one with which many people can relate. But aside from helpfully underscoring Amanda’s frustration by showing the increasing number of days she is without a car, they never establish why they felt this particular story was one worth telling. Her personal issues, including a growing estrangement with her daughter, fail to conjure any big emotions.

    The filmmakers are very loose with their storytelling, especially when it comes to side characters. The presence of the women she meets at the shelter, and Kevin (Dominic Sessa), the young lawyer who offers to help her, never makes full sense other than a need for her to have other people with whom to interact. A tighter focus on what Amanda was going through would’ve helped both her and people around her feel more important.

    Byrne is a dynamic performer who’s shown great skill at both drama and comedy, but there’s nothing special about her performance here. Hampered a bit by a blonde wig and false teeth, she feels out of sorts for much of the film. The unusually high-powered supporting cast - both Spencer and DeBose are Oscar winners - makes things interesting on first blush, but none of them outside of Sessa is given much to do, so they’re mostly wasted.

    Tow will be a disappointment for anyone hoping to see more great stuff from Byrne. While she remains a fine actor, her performance and the story as a whole are nowhere near the level shown in her previous film. The real life predicament shown in the film also never rises to the level of being of something worth showing to the masses.

    ---

    Tow is now showing in theaters.

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