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It was going to happen at some point that someone turns this real life industry into a major film. The Japanese rental family introduces all kinds of moral issues.

Brendan Fraser's Philip is a struggling American actor in Tokyo. He doesn't buy into being a fake husband, father, journalist, or friend easily. He properly conveys the moral weight of the rental family while making the best of this situation.

This is potentially heavy material, Yes people's lives are affected, often for the better and sometimes for the worse, but it's handled in a lighthearted engaging way.

It may feel cliché the way things ultimately unravel but this is a smartly made film that leaves you with something to think about.

We saw this at TIFF, including a great Q&A with the director afterward. Brendan Fraser is fantastic, as are several of the Japanese actors. The basic premise - that people can be rented to act as substitute friends or family - was shocking to us but is evidently a real part of Japanese culture. While there are numerous minor story arcs, two main ones are each quite compelling; one involving a fatherless girl, and another a fading old man. Their stories will make you both smile and weep.

Brendan Fraser plays an American actor who has been living in Tokyo for 7 years. His career has not been a success, doing things like toothpaste commercials. A chance gig has him connected with Rental Family, a business that rents out fake family members, friends, apologetic mistresses, etc. There are roles that specifically require a white man. His 1st official task is to play bridegroom, getting married to a young woman, who then can leave her family, ostensibly to go with him to Canada, but in fact for her to be with her lesbian lover.

In between other short-term roles, a couple of several-weeks continuing roles come up. One is to be a friend to an aging actor, under cover of being a journalist who wants to write his life story. Another is to play the long-lost father of a young girl, whose mother is trying to get into a good school, but believes that a single parent will not be acceptable. In both cases, the hiring client is not the subject of the relationship, so his acting skills are called upon. However, he gets emotionally attached, and complications ensue.

I saw this film at the World Premiere series of screenings at Toronto International Film Festival, with director Q+A. It seems that rental families are a real business in Japan, especially in Tokyo, where people are lonely, and psychotherapy is not easily available and socially disdained. Some businesses specialize in particular aspects, while others (like in the film) are generalists. Also, there are shrines around Tokyo, where, for a small offering, strangers can go to pray and meditate.

The situations are heartfelt, and Fraser does a good job playing the actor who is conflicted by playing a fake role in real people's lives. Recommended for those who are interested in a glimpse of the underbelly of Japanese culture.

As someone less familiar with Japanese filmography beyond a watch of the recent hit, Shogun, this was refreshingly different, but not in an unapproachable way; the friendly face of Brendan Fraser provides an instant point of recognition for westerners such as myself. Throughout this two-hour journey, the audience are given insight into the many joys and throws of modern Japanese culture, whether it comes from cleverly written emotional dialogue or visual cues such as the Monster Cat Festival - yet the film is far from an oversimplification of modern Japan - as Takehiro Hira says in an opening sequence, you could live in Tokyo for 100s of years and still not uncover all of its secrets. Director Hikari builds upon this cultural foundation with a poignant and hilarious emotional odyssey, featuring gut-wrenching moments of pain juxtaposed by much needed comedic relief. Neither sides are done cheaply - although the plot is generally predictable, it does not need to be complex; the writing is intelligent enough by itself. I thoroughly look forward to the film's general release, when I will be attending again for a second viewing!

The concept is really intriguing given some of us go through life longing to feel a certain way and never having the chance to!

The movie is an affectionate journey through Japan following Phillip, passionately portrayed by Brandon Frasier; a lonesome American actor struggling to find his next big break.

It had so many beautiful moment, I just felt I needed to sit with some of it before moving on to the next shot or sequence. Jonsi's music heightens the film's heart warmth and uplift. Highly recommended.

Rental Family is a film that just recently made it onto my radar, and I'm so glad it did. I'll always give a film starring Brendan Fraser a chance. I love him and have so much respect for his work. Once again taking on a dramatic role, Fraser proves his acting abilities here with a quiet, emotional performance that truly anchors the story. The film centers around Phillip (Fraser), a struggling actor living in Tokyo who takes a job at a "rental family" agency, where his work involves pretending to be someone in a stranger's life.

Most of the film focuses on Phillip's assignment as the father to a young girl who has never met her real dad, and it's through this relationship that the story finds its emotional core. There are other subplots as well, but I won't get into those details here. What really stood out to me were the moments of genuine emotion. There were scenes that had my eyes welling up, in the best way possible. The premise could have easily come across as something cheesy or sentimental, like a made-for-TV movie, but director Hikari brings a sense of maturity, charm, and humor that makes it feel grounded and authentic.

I never watched Hikari's show Beef on Netflix, though I've heard great things about it, and now I see why she's so highly regarded. This is a very talented filmmaker with a strong sense of empathy and visual storytelling, and Rental Family further proves her skill. I especially appreciated how the film explores the moral complexities of Phillip's job - a profession that actually exists in real life. There's a fascinating gray area here about whether what he's doing is right or wrong, and the film doesn't shy away from asking those difficult questions.

If I had one minor critique, it's that there are a couple of moments that, while effective, feel a bit emotionally manipulative - like the filmmakers were pushing a little too hard to make the audience feel something. That said, those instances are rare, and Rental Family still worked for me about 95% of the time. It's a heartfelt, thought-provoking, and beautifully made film that ranks among the best I've seen in 2025. When it hits theaters, I highly recommend giving it a watch.

I've been curious about this film for a while and it had such an interesting premise to me that I had to see this one. I think this film is absolutely heart wrenching and just throws so much emotional moments towards you that it gets you really close to crying or crying already. Brendan Fraser is just absolutely phenomenal and truly delivered yet another absolutely remarkable performance and the moments between Mia and Kikuo had me absolutely so emotional and really just elevated this film even more for me. The story here is absolutely beautiful and it's really a fresh concept which has you really thinking about the storyline going here and how Hikari truly had a brilliant idea with a beautiful work of cinematography and visuals to deliver this film which elevates it even higher for me. I really love the film delves the audience into more about the Japanese culture as that's something I'm not too knowledge about and I love how the film portrays the culture of Japan and all the beauty's and how you can't uncover all of its secrets even if you lived there for 100 years like the film states. I really love the score for the film as well and there's such beautiful moments when the film relies on the score to help bring out more emotional moments with beautiful and astonishing visuals. I feel like the film was a little predictable but that's not anything bad about the film though I feel like sometimes I could just see where things were headed pretty easily I feel like I didn't mind that due to this incredible and emotional story that were following throughout the movie. It's so emotional and wholesome seeing Brendan Fraser's character of Phillip and how he's trying to just help these people if he can possibly can and how he's going out of his way to make sure these people can have memories that can change them for the better. I honestly just think this movie was absolutely fantastic and it had me balling my eyes out near the end of the film due to how beautiful this story truly was and hats off to Brendan Fraser for another incredible performance. This is definitely worth watching in my opinion for sure.

Philip (Brendan Fraser) is an actor living in Japan, is out of luck, basically takes small gigs like commercials, he then gets a job offer to a company called Rental Family, where he plays a stand in for families. At first, he is reluctant but eventually goes along with it, but will he get emotionally attached?

Brendan Fraser gives a very real performance, showing that sometimes less is more. And all the actors really shine as well and not to mention the filmmakers really the beauty of Japan, makes you feel like you want to be there. It's a good film about the human condition.

There are moments in life when a stranger can make you feel more understood than someone you've known for years - and sometimes that connection comes from the most unexpected places.

That's the feeling this film left me with.

Rental Family dives into Japan's rental-service industry-something that often gets misunderstood or written off as "strange" by people who aren't familiar with Japanese culture. But instead of treating it like a curiosity, Rental Family shows something deeper: the quiet emotional needs people have, the parts of themselves they can't openly reveal, and how rental services become a safe space to express those hidden truths.

There are situations where people can't show their true selves - not because they're emotionless, but because the cultural pressure to maintain harmony or meet expectations is incredibly strong. And when you can't openly express who you are or what you need, it becomes hard to feel seen or understood, even by the people closest to you.

Rental Family shows how these services can sometimes offer a rare, quietly powerful alternative - a way for someone to experience honesty, support, or connection in circumstances where they simply can't reveal the full truth to their real family or community. It's not about deception. It's about finding comfort, dignity, or emotional safety in a world where not everyone has the freedom to live openly, the way they wish for or is expected of them.

Brendan Fraser plays a foreigner living in Japan who speaks the language yet still doesn't quite fit in-a feeling many expats know all too well, including myself. He's unfulfilled at work, chasing purpose without even realizing what he's actually looking for. And then he's presented with a job he doesn't understand, nearly rejects, and ultimately discovers himself through. The fulfillment he finds doesn't come from success, money, or accolades, but from emotional connection in one of the most unconventional places. And that's the beauty of the movie.

It also reminded me of my own time in Japan. When I first arrived, new to the country and with very few friends, I actually looked into renting a boyfriend for my birthday-not as a joke, not out of desperation, but because the idea felt comforting. As someone who couldn't celebrate with anyone, it sounded like a brilliant way to create a meaningful memory. The agency told me the guy I chose wasn't available on the actual day, so it didn't happen. But I still think the concept is wonderful for people who need connection when they don't have access to it.

And then there are host clubs. They get a bad reputation, and I'm not promoting them, but taken the right way, they can give people a sense of warmth or companionship they may be missing - whether they're single, far from home, or simply craving connection in a safe, controlled environment. It's another one of those very Japan-specific situations that looks unusual from the outside but makes a surprising amount of emotional sense once you understand the culture.

Because the truth is this: everyone wants to feel seen, accepted, and understood - but in Japan, expressing those needs openly isn't always easy. Cultural expectations, social harmony, and family pressures can make honesty complicated. So these rental services become a rare, structured space where people can access feelings they can't show in their everyday lives. A quiet bridge between what they can't reveal and what they still deeply need.

That's what the film captures so beautifully: that beneath the surface - beneath the politeness, the social expectations, the silence - people still carry the same longing for connection that all of us do.

And that's why this film is worth watching.

By the way, I saw this at the pre-premiere screening - and the full release is on November 21st.

If you want a nuanced, heartfelt insight into a uniquely Japanese corner of human connection, go see this movie.

Saw this film at the Virginia Film Festival, and it such a beatifully done film. The touching theme of connections between people and those who are missing something.

Brendan Fraser's performance was masterful that only he could have brought to this project.

Hikari brings together the beauty of human connection and Tokyo in such an amazing way in this film.

Almost a perfect movie, I absolutely loved it. I knew nothing about the movie going in, and it was so much fun thinking about the moral implications of what was going on, and thinking about the choices the characters make and about how things would unfold over the course of the movie. The movie has no weak spots in my eyes, I would have changed almost nothing about the film, and I don't want to give anything away so I wont mention what I would have changed but the movie is still a wow from me and wholly earns a 10/10 score.

What is more moving than emotion? I was blown away by this film dude. I mean, I would have edited it differently and maybe cut out a B character for more emphasis on the daughter arc but with reasonable pass at suspending disbelief I can say I thoroughly enjoyed this film. I see you in me and me in you - forever.

Sometimes, even an art-house movie lover is going to need some good feel-good and cute emotional movies to have comfort.

What Hikari offers is a cute, emotional, and non ham-fisted story about the moralities and emotions of being in a rental family business and the characters interlacing themselves and growth.

Hikari approaches the narrative, direction, and atmosphere without feeling manipulative nor overly cheesy, as the structure of how it's themes were presented and emotional weight were purposeful and balanced. Alongside with the good camerawork, colorful production designs and beautiful musical score. Many of the themes and moralities explored within the movie is interesting, as it doesn't feel one-sided, and is able to explore both it's positives and the negatives within the setting and scenes, without feeling heavy-handed, but lighthearted, mature, and reasonable.

The characters are interesting. Brendan Fraser gives a touching and heartfelt performance for his role. Personally, seeing Fraser continuing to get chances to showcase his dramatic performances and personalities is heartwarming (especially what he has been through). Alongside with the other performances, including the child actor and Akira Emoto, being pretty good. However, I did wish some of the supporting side characters had a little bit of more moral weight and emotional engagement as they had interesting arches, but they felt a bit too thin and light to fully engage with their purposes and point.

The writing is simple and admittedly, it is predictable. However, Hikari still lifts it's simple story up because of her directing approach, the themes, and how it's subject matter was handled. Resulting in a good feel-good and tearjerker movie to witness.

Overall, it's a good comfort emotional movie.

By Ian Chandler - November 24, 2025

Rental Family, directed by Hikari and co-written by her as well as Stephan Blahut, is a comedy-drama film that delivers far more than its marketing suggests. The film hides a mountain of clever ideas, emotional depth, and exceptional filmmaking. Starring Brendan Fraser, the movie centers around an American actor who finds himself working for an agency, where he fills in hired roles for clients. With the cast able to liven its emotional script, this picture is among the finest of 2025, a year that was packed with great dramas. It was so investing that my party of six stayed outside of the theater for twenty minutes afterward, shivering in the cold, just to discuss it.

Addressing what is probably the film's biggest draw, Brendan Fraser yet again brings the chops that have long made him unforgettable. His vulnerability, charm, and deadpan wit are all on full display. Additionally, Fraser speaks mostly Japanese, which not only broadens his own performance palette, but also grounds the story firmly in its Japanese setting. The film even allows supporting actors to use their native language. It gives Rental Family an extra ounce of believability and it trusts that American audiences can, in fact, be moved by a mostly subtitled feature.

Hikari's direction is both subtle and meticulous. Her balance and Takurô Ishizaka's camerawork bring great personality in a mostly corporate atmosphere. Character framing is often close, keeping the film's convincing emotion at the center stage. Muted backgrounds contrast with warmly-colored faces, ensuring the dramatic performances remain fully in focus. Rental Family prioritizes an intimate connection with the audience, caring about the characters affected by the narrative more so than the heavily considered story itself. This angle allows Fraser, as well as supporting actors, to showcase their dedication with no restraint. Hikari's fully realized vision gives the film the ability to brighten its sparkling screenplay.

Speaking of great screenplays, the best part of this film is the writing. While not all will applaud its optimistic view on humanity, Rental Family still delivers the meaty drama that even the most cynical-minded can enjoy. What looks to be a straightforward story branches out into a web of narratives. It is the sort of complication that makes the narrative more engaging and clever, rewarding viewers who pay attention to every character's thread. Just about every role, illuminated by a talented cast, is worth investing in. And while the film is busy, you constantly wonder how each story and role is going to affect the others, and it is that kind of thinking game that keeps the cranium satisfied.

Rental Family is not all about drama; the film thankfully has some sporadic moments of well-implemented comedy. No awkward quips, nor any forced "Netflix" or "Marvel" humor, just subtle remarks said or done at the right time. For example, Fraser's surprised reactions to absurd situations are subtle but noticeable bursts of comedy. While I did not guffaw at any point, I found myself grinning broadly. I was not alone with that opinion, my group exchanged wide smiles, fully appreciating the humor and subtlety of each scene. Best of all, the whimsical flourish is so brief, that it never undermines Rental Family's more mature themes.

Where Rental Family may lose some of its audience is the film's almost Hallmark-like perspective. The picture lacks the coldness of real-life situations, which may hinder immersion. Furthermore, Fraser's often notable sweetness blends in with the supporting cast, causing no character to be a standout role model. This approach is not inherently a bad thing, but it does sacrifice a grounded tale in favor of cinematic satisfaction, which could arguably be the right move. Regardless, Rental Family stands up tall with its thematic material in spite of its unrealistically positive lens.

Overall, Hikari and Blahut's latest screenplay elevates an already promising concept, packed with talent both on and behind the screen. While its tone may be too sugary for some, its themes, characters, and delightful pace bring Rental Family to instant-classic status. It suitably fits as a film to watch during the Thanksgiving season. Fraser would have boasted a career-best performance if it were not for his legendary reputation. Supporting cast members also give it their all in this wonderfully tender picture. It would be an absolute delight to see them in future films. So, Rental Family's mixture of sharp drama, big heart, and sprinkles of humor make it not only a film worth watching with the family, but also worth adopting into the family of cozy, fall-themed classics.

Score: 87/100

Summary (for quick reference): Rental Family exceeds its premise with heartfelt performances, scrupulous direction, and a screenplay rich with interconnected stories. Brendan Fraser shines in a role that's both funny and deeply moving, making this one of 2025's standout dramas.

If you know the premise of the movie then you already know what's going to happen, and in broad terms the plot doesn't provide any surprises. This is nevertheless unexpectedly enjoyable thanks to the director's deft touch, which allows the story to explore weighty themes without becoming maudlin and to deliver a heartwarming message without becoming cloying. It's simultaneously a tale of the main character's self-discovery and an endorsement of the positive effect a well-meaning person can have on the cynics around him; and it's infused with humor and the charm of an affable cast. Overall it's very enjoyable.

I was so pleasantly surprised when I watched this trailer that I knew it was going to be a wonderful film. Brendan Fraser deserves praise and maybe a trophy for this one.

Rental Family manages to balance some of the challenges of the human condition with all of the goodness of humanity. I had tears welling up in my eyes so many times in the theater that I expected to cry but was repeatedly overjoyed by the alchemy that is this movie.

One of the more enjoyable parts of this movie, for me as a Westerner, is appreciating the peaceful beauty of Japanese culture. Makes me really want to visit and learn more.

Overall very happy I saw this in theaters. The moviegoing public needs gems like these; something that makes you think, feel and appreciate the beauty hidden within all of the hardships of life. Please go see this film!

The original plot is enough reason to see this movie. The central ethical issue has been done before but not like this. The acting is consistently good and the cinematography makes both urban and rural Japan a visual marvel.

"Rental Family" deals with truthfulness in relationships (an overworked subject) but puts it in a context that gives it a fresh perspective, without simplistic answers. While Frasier's character is critical of faked relationships, he's actively doing it in his own life, in a way that seems positive. Maybe some faking is kind.

Brendan Frasier's acting is excellent and the supporting cast is so consistently good, it's hard to name a standout. Akira Emoto is excellent as the old man who has a life of regrets. Takehiro Hira is great as the sympathetic "villain". Mari Yamamoto is just so dang charming. Shannon Gorman is strong and vulnerable as the daughter but never cloying.

If I had any criticism - the story was a little sleepy. It dragged about ¾ of the way through. More suspense or a few more plot elements would have helped. But it's not enough to spoil the movie. Rental Family is obviously made for both American and Japanese audiences and pacing is surely cultural.

Congratulations to Hikari and the whole team that made "Rental Family"

Rental Family is one of those films that sounds as if it should go horribly wrong when you describe it out loud: a struggling American actor in Tokyo, hired out as a "rental family" member, performing intimacy for pay. In a lazier world, there is a dreadful version of this story, full of culture clash jokes, cheap sentiment, and fetishised "Japaneseness." This is the better world. Hikari's film sidesteps every obvious trap and lands somewhere tender, funny, and startlingly humane.

Brendan Fraser's Philip could easily have been a cartoon of the clueless gaijin or the sad-sack middle-aged man on a redemption tour. Instead, Fraser plays him as fully human, vulnerable, and quietly charismatic, a man who has genuinely chosen Japan as home and is still working out what that choice means. He is not our guide to an exotic country so much as a neighbour opening a door. The cultural texture feels lived in rather than touristic, and nothing about Japan is treated as a quirky backdrop for a Western man's enlightenment.

The film threads several emotional arcs, and almost all of them hit. The most obvious hook is Philip's work with Mia, a young girl who needs a father more than a performance. That storyline leans into realism and a kind of sad inevitability, yet still manages to surprise. Shannon Mahina Gorman's performance as Mia is impressively restrained for a child role; she never leans on precocious "movie kid" tricks, which makes her later emotional beats land even harder.

For me, the strand involving a retired actor and a tentative interview for a supposed magazine profile is where the film does its most interesting work. It gives Fraser room to show Philip as a man caught between performance and authenticity, and it charts his growth with a slow, careful hand rather than a big inspirational speech. The whole setup, meant to convince this older man that he has not been forgotten, is written and played with real tact. It provides some of the film's most quietly powerful moments without tipping into melodrama.

Even characters who could have been simple devices are treated with care and respect. Clients who might have been punchlines in another script are allowed their own small dignities and private aches. One background arc in particular, involving a socially withdrawn client, is handled with a light touch that still manages to be moving. The film trusts the audience to notice the details and carry those stories forward, rather than circling back to underline every beat.

There is a late reveal involving the agency owner that I partly saw coming, while my partner was completely blindsided. The fact that it plays as both "of course" and "wait, what" is a sign of how well the film has seeded its themes.

If I have a quibble, it is that I would happily have lived in this world for another twenty minutes and let a few moments breathe even more. As it stands, Rental Family is a cautiously hopeful, quietly devastating piece of work about loneliness, performance, and the ways we cobble together something like family out of the people who show up. It is loving without being sentimental, empathetic without being manipulative.

Nine out of ten, and very likely to grow in memory.

This surprising film can't easily be categorized or summed up. Imagine something so seemingly simple. Blink and it's something profound, that will tighten your chest. It is a masterpiece of simple / complex: the writing, the design, cinematography and THE ACTING. This one should be an Oscar contender.

If only I had been leased by a peaceful, quiet Japanese family instead of ending up in the community theater production of "The Shining" I was raised in, all the therapy bills I could have saved. Heck yeah I'll play a part - doting dad, zoo trips - whatever they want! I'll sit through a day's worth of Noh theater, just have the Yen on hand. Anyway I'm glad Brendan's making a comeback; just hit the gym a bit and you're all set for the next set of Mummy films (I'll always remember seeing the first one in Paris and the theater handing out complimentary "La Momie" t-shirts). Just expect Hamunaptra to get a percentage of the back-end. Happy Thanksgiving, everyone!

My first reaction was that this was going to be a slow movie but I always have liked Brendan Fraser, and it had a 7.9 rating (always a good indicator . . . For the most part). Turns out the pacing was excellent, the story well written, and the acting excellent.

Brendan brought a depth, and feeling to the part that really elevated the story. Shinji Ozeki was excellent as the casting director, and brought a depth to the story that did not overpower Brendan's role. It's very hard to find any fault with any of the actors.

You'll go in thinking it will be an okay, decent movie, and leave having had an very good emotional experience. The only reason it wasn't a 10 was because the subject matter, while an interesting concept, was really more of a vehicle showcasing excellent acting, writing, and production, rather than being memorable in and of itself.

This would be a pretty standard fish-out-of-water story were it not for the more serious elements late in the film and Brendan Fraser's innate affability in a role custom fit to his screen persona. Directed in fairly lockstep fashion by Hikari, this sentimental 2025 dramedy focuses on Phillip Vanderploeg, a middle-aged expat actor struggling to make a living in Tokyo after his initial success as the superhero mascot in a popular toothpaste commercial seven years earlier. He gets hired by the owner of a rent-a-family company looking for a "token white guy" to help clients in need of a missing family connection. Phillip tries mightily to overcome his innate resistance to the faux-family concept at which point the story concentrates on two roles he's hired to tackle: the estranged father of a biracial adolescent and a journalist interviewing an aging screen star suffering from dementia. Fraser maneuvers through the various plot machinations with genuine sincerity, but he could've benefited from a deeper, more complex script from Hikari and Stephen Blahut. For instance, it would've been more interesting to mine the psychology behind the loneliness felt in Japanese culture beyond the obvious impact on children and the elderly. On the upside, the cinematography by Takuro Ishikawa is captivating, and there are effective supporting turns from Takehiro Hira as the company owner, Mari Yamamoto as a cynical colleague, and Akira Emoto as the forgotten screen star.

The Rental Family was absolutely incredible. The acting, the cinematography, the relationships-every part of it was beautifully done. The dynamic between the characters drew me in from the very beginning, and I found myself genuinely caring about each and every one of them.

Brendan Fraser was especially unforgettable-warm, lovable, and deeply moving in every scene.

Having lived in Japan for two years, the film's setting was especially meaningful to me. Seeing the cities, the small details, and the breathtaking beauty brought back so many wonderful memories.

This movie had everything. It moved me, it entertained me, and it stayed with me long after it ended. Truly a must-see.