Dir: Hikari
Cats: Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman, Akira Emoto
Brendan Fraser showcases his sensitivity in this gentle, well-natured comedy-drama, inviting us on a moving journey through loneliness and the search for connection in Japanese culture
After years away from Hollywood, worn down by the emotional and physical demands of his craft, Brendan Fraser’s triumphant return has been nothing short of inspiring. Once a charismatic heart-throb of the nineties and early noughties, Fraser re-emerged in Darren Aronofsky’s psychological drama “The Whale” in 2022, earning not only universal acclaim but also an Academy Award for his performance. His raw, heart-wrenching portrayal of a morbidly obese man facing his own mortality was a world apart from his swashbuckling heroics of “The Mummy” franchise that made him a household name two decades prior.
Beloved for his warmth and humility, Fraser’s return to the spotlight feels like a homecoming for fans. This time, the “George of the Jungle” star delivers another gentle performance in the comedy-drama “Rental Family”. Directed and co-written by Japanese actress-turned-filmmaker Hikari, the film delves into the various stigmas woven into Japanese society while giving Fraser and his co-stars space to showcase their organic acting talents. Although “Rental Family” is only Hikari’s second feature after her 2019 Japanese drama “37 Seconds”, she has already made waves in television, having directed three episodes of the acclaimed Netflix series “Beef”.
Much like her debut, Hikari’s second feature premiered at the Toronto Film Festival, captivating audiences before traveling the global festival circuit. After its US release back in November, “Rental Family” is finally arriving in the UK this Friday, and I was fortunate enough to catch an early screening on Monday, with the film delivering exactly the emotional resonance and thoughtful storytelling I had hoped for from a collaboration between Hikari and Fraser.
Fraser takes on the role of Phillip, an American expat in Japan whose acting career has stalled since his fleeting fame in a toothpaste commercial years prior. This is until he is approached by Shinji (Takehiro Hira), who runs the ethically questionable Rental Family company. The business hires actors to pose as family or friends for clients in need. Though Phillip is sceptical at first, his financial struggles push him to join the team, working alongside Aiko (Mari Yamamoto) and Kota(Kimura Bun).
After a nearly calamitous first assignment as a young woman’s fiancé, Phillip is given two long-term roles. He becomes the estranged father to Mia (Shannon Mahina Gorman), a young girl whose mother is desperate to secure her a spot at a prestigious private school, and also poses as a journalist profiling Kikuo (Akira Emoto), a retired actor battling dementia. As Phillip slips into these borrowed lives, naturally, he forges genuine connections, all while his clients remain blissfully unaware of the truth behind his presence.
What makes “Rental Family” so effective is Hikari’s gentle touch with what could be weighty societal themes. Normally, I might fault a film for skimming the surface of its complexities, but here, the subtlety and warmth invite you to care for the characters without getting lost in cynicism or over analysis. The film feels humble and inviting, even as it brushes against heavy topics like loneliness and isolation, yet these themes are handled with both empathy and a sly critique of the peculiar ways Japanese culture has learned to outsource emotional needs. It is striking, and a little heart-breaking, that a country celebrated for its innovation and artistry still struggles to openly address mental health and loneliness. Instead, solutions like rental families emerge, bizarre yet telling attempts to patch over deeper vulnerabilities in a desperate bid to keep face.
Phillip is not just the heart of the film; he is the living bridge between Western and Eastern worlds. His American outlook clashes with Japanese customs, from how he handles insecurity and isolation to his non-religious beliefs. Yet he remains deeply human, facing the same societal pressures as those around him, yet struggling to navigate them in a culture that addresses these issues so differently. Fraser brings remarkable sensitivity to Phillip, capturing his moral conflict as he wonders if he is deceiving people out of their emotions, even as he finds his own sense of connection through the experience. Both Fraser and Yamamoto beautifully portray how emotional bonds can form with those who are not family, and while their work is technically a performance, the feelings that develop become unexpectedly real, for better or worse.
Outside their roles, Phillip, Aiko, and even Shinji are unmistakably lonely souls, despite living in one of the world’s most populated and vibrant cities. Each of them turns to the Rental Family business not just to help clients, but to fill their own emotional gaps. While the ethics of this approach are murky, it does seem to offer a measure of healing for everyone involved when handled with care. As mental health becomes a growing global concern, it is fascinating to witness how different cultures approach it. While the film often plays the concept for laughs, its absurdity is tinged with genuine emotion, revealing just how much the Rental Family service can change lives.
Like some of the best American films set in Japan, “Rental Family” highlights the country’s striking cultural juxtapositions. I have yet to visit the land of the rising sun, though it has topped my travel list ever since I first watched Sofia Coppola’s “Lost in Translation” over twenty years ago. The film captures the breath-taking contrast between bustling, futuristic cities and the tranquil, spiritual shrines nestled in the mountains and forests. As Phillip accompanies the aging Kikuo back to his childhood home, we are treated to the full spectrum of the Japanese culture and landscape.
A story as gentle and good-natured as this could easily tip into sentimentality, and Hikari often walks that fine line. Yet, the naturalistic performances from the cast and the understated score by Jonsi and Alex Somers, of Sigur Rós fame, keep the film grounded. This subtle approach lets the audience connect with the characters authentically, without resorting to heavy-handed emotional cues—a testament to the filmmaker’s remarkable restraint.
The Verdict:
“Rental Family” charms as a heartfelt dramedy, anchored by Brendan Fraser and a nuanced Japanese cast, as it delicately uncovers the quirky ways Japanese society navigates loneliness and the longing for acceptance.
Rental Family is showing in UK Cinemas from 16th January
Dan Loves Film 
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