Set in 1999, the film stars Margaret Qualley and Geraldine Viswanathan as two lesbian best friends on a road trip who become involved in a criminal scheme.

The next morning, Arliss, Flint, and Chief arrive in Tallahassee, while Jamie decides to use the contents of Santos' briefcase: a collection of dildos that were created from plaster casts of men's erect penises.

Immediately after Jamie climaxes, Arliss and Flint burst into their room, retrieve Santos' head and the briefcase, and abduct the women at gunpoint.

Chief arrives to meet them all and explains that the sex toys are based on the genitals of powerful public figures, including one that was molded from Senator Channel's penis.

As the trio drive away, a bellhop races to give them a bag that they have left behind, which contains two plaster casts Jamie had made of the dildo modeled after Channel's penis.

Ethan Coen and his wife, Tricia Cooke, first pitched the idea for the film to their friend Allison Anders during a Christmas vacation in San Francisco in the early 2000s.

[11] In April 2023, the title was revealed to be Drive-Away Dolls, with Pedro Pascal, Colman Domingo, Bill Camp and Matt Damon added to the cast.

[13] Drive-Away Dolls is the debut of Coen as a solo director (excluding the 2022 documentary Jerry Lee Lewis: Trouble in Mind), without the collaboration of his brother, Joel.

[16] Since the project's initial announcement, Coen has described the tone of Drive-Away Dolls as being similar to the early 1970s exploitation romance films he saw as a teenager.

Kill!, Bad Girls Go to Hell, Alice Doesn't Live Here Anymore, Go Fish, But I'm a Cheerleader, and the works of John Waters as reference points for the film.

[23] In the United States and Canada, Drive-Away Dolls was released alongside Demon Slayer: Kimetsu no Yaiba – To the Hashira Training and Ordinary Angels, and was projected to gross around $4 million from 2,261 theaters in its opening weekend.

The website's consensus reads: "The appealing odd-couple chemistry between Margaret Qualley and Geraldine Viswanathan helps Drive-Away Dolls power past its overly familiar screenplay and erratic execution.

"[29] Tomris Laffly of RogerEbert.com gave the film three and a half out of four stars and wrote, "Sometimes, there is the slightest air of obviousness in Drive-Away Dolls, which can't avoid inevitable comparisons to older (and better) idiosyncratic crime capers, many of them by the Coens themselves.

But that doesn't lessen the nostalgic bliss the film stirs in one with all its foul-mouthed, naughty glory; not when the fun had by everyone involved in the project is so palpable on the screen.

In that, there is a disarming what the hell, why not quality to Cooke and Coen's writing, with the carefree words and actions of Jamie and Marian jovially bouncing off the page and landing on the viewers' eyes and ears with the same jubilant vigor.