Rental Family is an unabashedly sentimental dramedy directed by Mitsuyo Miyazaki, better known mononymously as Hikari. Exploring themes of loneliness, connection, and cultural norms, this is a heartwarming look at the human need for belonging and the complex nature of transactional relationships in our disconnected world.
★★★★☆
After his Oscar-winning performance in The Whale (2022), Brendan Fraser returns to the big screens as Phillip Vanderploeg, a down-on-his-luck American actor living in Japan. Struggling to find work and a sense of purpose in life, he lands an unusual gig with a “rental family” agency run by Shinji (Takehiro Hira), where clients hire actors to play roles in their everyday lives. Through the varied roles he is assigned, Philip immerses himself in the lives of his clients and begins to form genuine human connections that blur the line between performance and reality. Confronting the ethics of his work, he soon rediscovers a purpose and belonging in the quiet beauty of human connection, slowly easing his own loneliness as he provides a service of real emotional value to his clients.
Fraser delivers a masterful and immensely touching performance—those sad, puppy-dog eyes establishing his lonely and vulnerable character right from the get-go—and a particular mention should be made on how he learned to speak conversational Japanese for the role. Though his real-life proficiency is not fluent, relying on translators for deeper conversations, this dedication to authentically portray a character who has been living in Japan for several years is a profound and thoughtful representation of cultural sensitivity.
Though this specific story is fictionalised, the film draws from real “rental family” businesses in Japan, where people can rent out actors for everything from estranged parents to romantic partners. It’s a stark reflection of the profound isolation in our current disconnected world and a universal yearning for connection, and offers a sensitive cultural commentary into Japanese social culture, where shame, saving face, and decorum often prevent people from seeking help for this isolation, making these rental services a vital outlet.
In Rental Family, we see the multiplicity of the potential roles people need to be filled. Phillip portrays an older, Canadian groom so a woman can save face with her parents who don’t accept her sexual orientation; a video-game best buddy to a lonely guy; a token “sad American” at a fake funeral so the ‘deceased’ can see how he will be mourned; a journalist writing a magazine piece on a legendary but largely forgotten actor who is beginning to lose his memory; and a stand-in father of an 11-year-old girl to increase her chance of gaining admission to a prestigious school. We also glimpse the darker side of the “rental family” businesses through Aiko (Mari Yamamoto) and the abuse she is subjected to while assigned her most popular role of the “apology service”, where actors execute apologies to a spouse for infidelity or wrongdoings, often to maintain social harmony or avoid difficult personal confrontations.
Despite this inherent sadness and bleakness, the film offers a hopeful and humanist perspective, showing how empathy and genuine effort from someone can heal and provide purpose. It blurs the line between performance and reality, suggesting that even orchestrated interactions can foster sincere care and provide essential emotional support, challenging the idea that ‘fake’ intimacy is worthless. It also celebrates the idea of chosen family, arguing that meaningful bonds can be formed through shared experiences and create a true support system.
The Verdict
Rental Family is a thought-provoking and uplifting exploration of the complexities of modern life. It encourages viewers to rethink the concept of family and the importance of shared experiences. It is a poignant, humanist story told through a gentle, empathetic performance, offering a heartfelt portrayal of someone finding purpose and belonging in a disconnected world.
Words by Jugo O’Neill