Brendan Fraser’s performance in Rental Family (directed by Hikari) oozes with what the Japanese call Kokoro- the spirit of emotional heart and warmth, real charm. He plays Phillip Vandarploeug, an American actor whose momentary glory in a Nippon toothpaste commercial was a temporary balm for his stalled career. Until then, Phillip, acting in minor roles that offered no fame or inner depth, was his sole balm. When his agent introduces him to a company called Rental Family, where actors are cast to perform emotional roles for customers mourning lost family connections, he gets the genuine parts he craves. Hikari takes this silly, sentimental concept and transforms it into a heartfelt admiration for aching humanity.
His first assignment asks Phillip to be Yoshie’s fiancé. This closeted lesbian wants to give her parents a traditional wedding before moving to Canada to be with her true love. Fraser manages to turn this staged ceremony into a genuine moment of affection. The parting, as seen through doorways and screens, reveals both Phillips’ admiration and heartbreak. His second role asks him to play the father of Mia, a sweet young girl (Shannon Mahina Gorman). She resists at first, but Phillips’ gentle patience wins her over, and the two form a tremulous and genuine bond. Their relationship becomes a primary linchpin of Rental Family. His third job is to be a reporter interviewing Kikuo Hasegawa (Akira Emoto), a retired actor. Their friendship grows fast: Phillip guides Kikuo back home again, guiding him through an exploration of mementos that suggest both childhood and honor to a man of honour. Thus Hikari provides Phillip with a taste for his lost connections- a daughter he wanted and a father who admires and respects him.
Rental Family has a cast that genuinely enriches its theme of connection. Takehiro Hira as Shinji, the Rental Family owner, eloquently shows the contradictions of running a business based on intimacy. The Aiko character (Mari Yamamoto) is tough, especially in her refusal to bow to Shinji’s power. Shino Shinozaki’s Hitomi is a portrait of motherhood wrapped up in its maternal complications. She is caught between guiding Mia’s future and Phillip’s growing influence on her daughter. Hikari directions assures that the rhythm of each character is layered with the others, feels genuine and purposeful.
The film’s emotional power derives entirely from Phillip’s moral choices. He refuses a potentially career-changing role so he can be available to Mia. He aids with Kikuo’s memory retrieval and supports Aiko’s battle against Shinji. Each of those moments thrums with consequence and joy. Gently, realistically, with humor and sincerity, Hikari shows how temporary roles can be anchored in the heart, a festival of emotions where chosen bonds can be worth more than blood ties.
Rental family gets a B+: Fraser, the warm vision Hikari brings, and the emotional heft of the ensemble make for a genuine film that contains connection, ritual, and the courage to step into roles that matter.
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