An actor begins work for an agency that hires stand-in roles for strangers, making unexpected connections in Hakiri’s feel-good tragicomedy Rental Family.
It’s almost a set-up out of a Spike Jonze or Michel Gondry movie. A talent agency that doesn’t set up regular acting gigs, but fills in for real moments in life that need someone, big or small: a seat at a funeral, a reporter to make an older man feel remembered, someone to play video games with, an absent father for an interview. A strange, fascinating idea, almost magical realism in how well it works in the film (but it’s not). But these businesses are real in Japan, with about 300 extant, so they might have it down (as seen in a New Yorker article and a Herzog documentary previously), and give director Hikari (writing with Stephen Blauhut) a solid base to build from. And they use that base to create a heart-warming tale of a new actor to such an agency, and the connections he makes with his clients, coworkers, and himself. Rental Family goes down easy, if not with a sad underpinning (I cried, friends), with a charming premise, a fantastic lead in Brendan Fraser.
Brendan Fraser brings an effortless, yet character-driven, slightly uncomfortable charm as Phillip Vanderploeg, a struggling American actor in Japan who begins working for the agency. I’m glad to see his comeback continue with another strong role, a meaty part that allows such pathos, humor, and drama. (I’ve not seen The Whale, for which he won Best Actor, to note.) He carries himself with someone struggling with connection, as much as he wants it. Coming to Japan for a commercial seven years previously, he loves the country and culture, ingraining himself as much as he can (he speaks what I’ve read as “good enough” Japanese, follows all cultural norms), but will always stand out as a rather large American man. His new job is as much for him to make those missing connections as the clients, especially with Mia: a young girl he’s temporarily a father to, and Kikuo, a retired actor who struggles with being forgotten while he deals with his own fading memory. Both main, continued clients are amazing counterpoints to one another, creating a strong structure. I especially enjoyed Phillip and Kikuo; the measured ease of the pair and the natural writing flow highlight an importance. In addition, the interplay between Phillip and his new boss, Sinji, played by Takehiro Hira of Shogun, is a wonderful dynamic. I especially wanted to call out Akira Emoto as Kikuo for an astounding performance; I felt his pain and loss. Like everyone, layers and surprises abound. 
It’s a fascinating concept, hiring an agency to fill in missing emotional beats. It helps having someone with such an emotional, easy rapport as Frasier, who I’ve always found ot be an underappreciated actor (George of the Jungle for life! Let’s not forget the world’s sexiest movie: 1999’s The Mummy) finally getting his dramatic due in recent years. People yearn for connection, to be remembered, to have emotional divots filled. And sometimes we can’t fill them ourselves. Especially in a culture that often tamps down emotion and talk of mental health.
And thus, the movie is about those emotional beats. It’s touching and heartwarming. Strongly emotional, yes, but it’s a feel-good sort; we cry at memories and loss (I’ll admit to tearing up a few times); of those those Fraser meets and connects with. The front is false, but the underneath is real. The truth of the people comes through; a realness underneath the actor. It can be argued that Phillip isn’t truly acting, but opening himself up in his own way. Hakari draws a natural emotional flow from the performances, handling the tragicomic beats and story with an even hand. It’s never overly sentimental or saccharine. Her camera is almost neutral, letting the situation, writing, and acting play as needed. The closest it comes to being too on the nose is a moment where Mia notes the falseness of an art project designed to look like an aquarium. Mia, played by a wonderful Shannon Gorman, says it’s cool but fake. Our hearts burst with the knowledge of the truth of the relationship she’s building with Phillip. It’s simply sweet, but infused with an undercurrent of sadness. I appreciate the lack of cinematic manipulation, even if the movie, at its heart, features people manipulating others. For good, but it’s still manipulating. And it may be a little too pat in the complications and resolutions, but you know, I’m okay with it. It’s that sort of movie.
Honestly, I can’t help having a personal snag in the concept, even though these agencies do exist, and as well as he concept works on the emotional core. Unlike a regular performance, this sort of thing can hurt; it’s ultimately lying if the person the actor is interacting with is unaware of the hire. As that’s often the case in the film, more of a dramatic tie with a realer connection, a part of my thought process the whole time is “this is wrong.” To be fair, the moral quandaries are addressed in the film, but I couldn’t settle them fully. Ultimately, coming out: the movie worked so well, and it’s handled so carefully, it doesn’t become cruel. I can get past it in hindsight, and this is not the fault of the movie itself. But I’ve talked to some other folks who have also had this issue. If that might keep you from watching the film, I understand. 
A side note: coming in, I thought Fraser was going to be rented to a specific family at some point. I didn’t realise until deeper in the title is the name of the agency, so I was expecting the setups with the actor and girl to lead into him integrating himself with a family and their lives. I like the real story of the movie better.
Rental Family is a tender, feel-good film of connections bound in loneliness. Fraser is a wonderful lead, charming and sad. While the film might shy away from going too deep or thinking too hard about the implications, Hikari gifts us a heartwarming, (rental) family-friendly (ok at least one F bomb but let’s say 12 plus) film of goodness and smiles (with some cries). Now, if you excuse me, I’m going to see if I can rent Fraser to watch the movie with me again.