---
title: "Rental Family"
year: 2025
kind: "film"
canonical: "https://film.one/film/rental-family"
fi1m_id: "rental-family"
imdb_id: "tt14142060"
tmdb_id: 1208348
wikidata_id: "Q124947229"
fi1m_score: 58
critics_score: 59
critics_reviews: 16
published: "2026-09-09"
updated: "2026-09-18T08:37:46.518948+00:00"
region: "SE"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Rental Family (2025)

Directed by Hikari · 1h 50m · Statens medieråd 7 · Comedy, Drama

## Identity

Rental Family

- **Canonical:** https://film.one/film/rental-family
- **Type:** Film
- **Fi1m ID:** rental-family
- **IMDb ID:** tt14142060
- **TMDB ID:** 1208348
- **Wikidata ID:** Q124947229
- **Same entity:** https://www.imdb.com/title/tt14142060/, https://www.themoviedb.org/movie/1208348, https://www.wikidata.org/wiki/Q124947229

**Fi1m score: 58** · Critics 59 from 16 reviews

*In a sentence:* Everyone in Tokyo is lonely and Brendan Fraser is available by the hour

> Hikari’s second feature takes a strange, real Tokyo trade and Brendan Fraser at his gentlest and makes something soft, well acted and pleasant that will not touch the hard questions its own premise keeps asking. Fraser and the young Shannon Mahina Gorman nearly carry it anyway.

## Synopsis

Phillip Vanderploeg (Brendan Fraser) is an American actor who has been in Tokyo for years and has little to show for it beyond a small flat and the odd commercial. Work arrives from an unexpected direction: an agency run by Shinji Tada (Takehiro Hira) that hires out people to play parts in other people’s lives, a groom at a wedding, a mourner at a funeral, a relative who could not otherwise be produced. Alongside a more experienced colleague, Aiko Nakajima (Mari Yamamoto), Phillip takes on two long assignments: standing in as a father for a schoolgirl, Mia Kawasaki (Shannon Mahina Gorman), and visiting an elderly actor, Kikuo Hasegawa (Akira Emoto), who has few visitors left. The jobs start to matter to him more than the contract allows.

## Review

Rental family agencies exist in Japan. For a fee, somebody will come to your wedding as your cousin, sit at your father’s funeral, or wait at the school gates as the parent you do not have. Hikari’s second feature, which she wrote with Stephen Blahut, gives one of these jobs to Brendan Fraser and follows him from assignment to assignment for 110 minutes. The idea is odd, true and full of trouble. The film is kind, soft and untroubled, and it is easy to sit through. We wanted it to be harder.

Fraser plays Phillip Vanderploeg, an American actor who has been in Tokyo long enough to speak the language and not long enough to have a life there. He is big and careful and ducks slightly through doorways as if apologising to them, and he is the reason the film works as often as it does. He does not push. When a client cries he lets them, and the camera stays on his face while he works out whether he is allowed to feel anything himself. It is a quieter performance than *The Whale* (2022) and a better one.

The work comes from an agency run by Shinji Tada (Takehiro Hira), with Aiko Nakajima (Mari Yamamoto) as the colleague who has been doing this longer and likes it less. Two jobs carry the film. Phillip is hired as a father for Mia Kawasaki (Shannon Mahina Gorman) and as a visitor for Kikuo Hasegawa (Akira Emoto), an old actor with an audience of one. Gorman is the find. She plays the girl as a child who has worked out more about the arrangement than the adults believe and has decided to go along with it, and there is a scene between her and Fraser, early on, in which nothing is said that could not be said in front of a paying customer and both of them know it. It moved us more than we expected, because Fraser plays it with his hands in his lap, like a man waiting for permission. Emoto gets the film’s driest comedy, treating his hired guest as a crowd that has finally turned up.

Takuro Ishizaka shoots Tokyo in soft light, pastel more than neon, and keeps Phillip’s flat tight enough that his shoulders fill the frame and the walls look too close for him. Masako Takayama and Norihiro Isoda make the agency a cluttered little office with costumes on rails and photographs of other people’s relatives on the walls. Meg Mochizuki dresses Phillip in the same few soft shirts off duty and something stiffer for each job, so we can always tell when he is working. Thomas A. Krueger and Alan Baumgarten cut the assignments as a string of short episodes, each with a set-up and a small landing, which keeps the film moving and stops it settling anywhere long enough to hurt.

The score is where the film’s nerve first goes. Jon Thor Birgisson and Alex Somers supply hummed voices and slow strings that rise under nearly every quiet moment, and whenever Fraser has done the work with his face the music arrives to do it again. By the hour mark we were bracing for it, and then we were irritated, because the scenes did not need the help.

People are lied to in this film, some of them old and one of them a child, and the film treats the lies as a kindness because the liar is Brendan Fraser. Hikari and Blahut know the objection is there; they give it one scene and then put it away. The Japanese characters mostly exist to be helped by him. Hira and Yamamoto are good, and each gets a moment that suggests a life of their own before the script goes back to arranging Phillip’s. The last stretch tidies every complication, and we will say only that nobody is asked to pay for anything.

Hikari’s *37 Seconds* (2019) let its heroine be angry and wrong and stay likeable. Nobody here is allowed to be either. Every client is deserving, every deception is forgiven before it is discovered, and a premise about the price of company ends up costing no one very much.

It runs 110 minutes and carries a 12A, and there is nothing in it that could upset anybody, which is the problem. See it if a gentle evening is what you need; Fraser and Gorman will give you one. A film about a man paid to lie to lonely people ought to have found the lying at least a little interesting.

*Fi1m score 58, published 9 September 2026.*

## What the critics say

The reviews are split, and widely. Nearly every critic, on either side, agrees on one thing: Brendan Fraser. His performance as a lonely actor taking work with a Tokyo rental-family agency is called tender, warm and unshowy by the admirers, and even several of the film’s detractors grant that he is sincere.

The disagreement is over what Hikari has built around him. The positive reviews take the film as a gentle, feelgood comic drama about loneliness and connection, and many of them still note that it stays sunny and neat rather than facing the ethical questions its premise raises. The negative reviews say the same thing more harshly: mawkish, saccharine, glib, with supporting characters reduced to props and a story that makes little sense. The Guardian finds Fraser bland, a rare dissent on the lead. Time Out raises white-saviour concerns. Most critics land somewhere warm; a vocal minority are actively hostile.

## Straight answers

**Is Rental Family worth watching?**

*Rental Family* is a gentle, well-acted film that never gets to grips with its own premise, and we scored it 58. Brendan Fraser and the young Shannon Mahina Gorman nearly carry it, and it makes for an easy, kind evening. If you want a film about paid deception that finds the deception interesting, this is not it.

**How long is Rental Family, and what is it rated?**

*Rental Family* runs 1h 50m and is rated 7 by the Statens medieråd in Sweden. It is a comedy and drama film.

**Where can I watch Rental Family in Sweden?**

*Rental Family* is streaming on Disney+ in Sweden, and it is also available to rent from Amazon Prime Video from kr 49.00. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Rental Family, and is it suitable for children?**

*Rental Family* carries a 12A and contains nothing violent or frightening. It is a soft comedy-drama about loneliness, in which people are lied to for their comfort and nobody is made to suffer for it, so children old enough to follow the idea should be fine. The squeamish have nothing to fear; if anything, the film is too careful with everyone.

**How does Rental Family compare to Shoplifters?**

*Rental Family* and [*Shoplifters*](https://film.one/film/shoplifters) are both about families assembled on a lie, and Kore-eda's film is the better of the two by some distance. Hikari forgives every deception before it is discovered and lets no one pay for anything, while Kore-eda lets the lie cost his characters. Choose *Rental Family* for a gentle evening with Fraser; choose *Shoplifters* if you want the same idea taken seriously.

**What should I watch after Rental Family?**

After *Rental Family*, try [*Shoplifters*](https://film.one/film/shoplifters) (2018, Fi1m 89): Kore-eda’s assembled family is a lie too, and he makes it cost. Then [*After Life*](https://film.one/film/after-life) (1998, Fi1m 85): The dead pick one memory to keep; gentler than it sounds and much sharper; and [*Lost in Translation*](https://film.one/film/lost-in-translation) (2003, Fi1m 86): Two Americans adrift in Tokyo hotels, and the loneliness is allowed to stay.

### Reviews we read (21)

- **RogerEbert.com**, Richard Roeper (85/100, inferred): The critic praises Hikari’s elegant direction and the tender performances, especially Brendan Fraser’s, calling it a beautiful, contemplative film with lovely messaging; highlights the insightful exploration of the rental family business and the character's cultural assimilation struggles. [Read](https://www.rogerebert.com/reviews/rental-family-brendan-fraser-film-review-2025)
- **The Telegraph** (80/100, inferred): The film is described as a supremely sweet and touching comic drama in which Brendan Fraser delivers an extraordinary performance as a man finding connection through rental family work, reflecting on loneliness. [Read](https://www.telegraph.co.uk/films/2026/01/16/rental-family-review-brendan-fraser/)
- **IndieWire**, David Ehrlich (B): The review frames the film as a gig-economy drama about the roles people play, praising Fraser's central turn while exploring the blurred lines between performance and reality in modern life. [Read](https://www.indiewire.com/criticism/movies/rental-family-review-brendan-fraser-1235149619/)
- **Empire**, Beth Webb (70/100, inferred): The critic calls it an affable crowdpleaser led by Brendan Fraser's open, empathetic performance as the lonely actor who forms real bonds. It stays sunny and sentimental without fully exploring the darker moral complexities of the rental agency premise. [Read](https://www.empireonline.com/movies/reviews/rental-family/)
- **Vulture** (70/100, inferred): The review sees the film as an uneven but likable vehicle perfectly suited to Brendan Fraser, singling out his unique screen presence and the way the story mirrors his real-life career trajectory as its most compelling aspect. [Read](https://www.vulture.com/article/review-rental-family-proves-some-movies-need-brendan-fraser.html)
- **Evening Standard**, India Block (60/100, inferred): Brendan Fraser radiates warmth and charm as the rent-a-dad in this gentle, feelgood tale of unlikely connections in Japan. The film raises intriguing topics around rental services and cultural clashes but shies away from deeper emotional or ethical exploration, remaining surface-level and neatly resolved. [Read](https://www.standard.co.uk/culture/film/family-rental-review-brendan-fraser-hikari-llf-b1253252.html)
- **Time Out**, Hanna Flint (3/5): The comedy-drama has charms despite being on the mawkish side, with Brendan Fraser delivering a tender performance as a man seeking connection. It singles out the strong supporting turns, especially from Shannon Mahina Gorman and Akira Emoto, while noting issues with white saviour territory and a too-neat ending. [Read](https://www.timeout.com/movies/rental-family-review-2026)
- **The AV Club**, Tim Grierson (D+): The critic finds the film cloying and smug, faulting its overly sentimental approach to the rent-a-family premise and lack of psychological depth or nuance despite Fraser's sincere performance. [Read](https://www.avclub.com/rental-family-review)
- **Variety**, Peter Debruge (40/100, inferred): The review finds the film maudlin and unconvincing, with Fraser’s self-pitying performance dragging it down, though it has thoughtful moments; criticizes the tone and lack of humor. [Read](https://variety.com/2025/film/reviews/rental-family-review-brendan-fraser-1236510093/)
- **Slant Magazine**, Alexander Mooney (1/4): The critic dismisses the film as mawkish and on-the-nose, complaining that it milks its premise for cheap humor and pathos while reducing supporting characters to props for the star's formulaic self-discovery arc. [Read](https://www.slantmagazine.com/film/rental-family-review-brendan-fraser-hikari/)
- **The Guardian**, Peter Bradshaw (20/100, inferred): The critic finds the film glib, silly and pointless, with Brendan Fraser a bland presence in a saccharine and implausible story about a rental family service. It is criticised for its complacent sentimentality and failure to meaningfully explore the premise. [Read](https://www.theguardian.com/film/2026/jan/14/rental-family-review-brendan-fraser-japanese-role-play-drama-hikari)
- **The Times** (20/100, inferred): The review calls the film awful and shamelessly mawkish, with Brendan Fraser frequently in an overly sentimental mode in a melodrama about pretend family members that makes little sense. [Read](https://www.thetimes.com/culture/film/article/brendan-fraser-rental-family-film-review-hikari-hmpn77rf8)
- **Financial Times** (★★★☆☆): The critic notes the film is a gooey feelgood comedy-drama about emotional role-play in Tokyo, where Brendan Fraser's charm carries a story that some may find charming despite its sugar-coated approach to clashing cultures and human connection. [Read](https://www.ft.com/content/76c29e89-f319-459a-9d24-39152ee0d050)
- **Screen Daily**: Brendan Fraser shines in an unconventional, endearing crowd-pleaser about a lost soul seeking connection. It singles out his affecting, unadorned performance and Hikari's thematic dexterity and visual acumen for praise. [Read](https://www.screendaily.com/reviews/rental-family-review-brendan-fraser-shines-as-a-lost-soul-seeking-connection-in-tokyo-set-drama/5208648.article)
- **Sight and Sound**: The film feels underdeveloped but is saved by its thoughtful performances. It singles out Brendan Fraser's magnetic, goofy yet genuine turn and the bond with the young girl Mia for praise. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/rental-family-brendan-fraser-brings-goofy-charm-this-restrained-fish-out-water-comedy)
- **The Hollywood Reporter**, Frank Scheck: The critic calls it a charming surprise of a dramedy that balances poignancy and humor with rare delicacy, highlighting Brendan Fraser's superlative lead performance as the standout element. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/rental-family-review-brendan-fraser-hikari-1236362251/)
- **Deadline**, Pete Hammond (80/100, inferred): The critic calls it a sweet and lyrical movie about finding human connection through Japan's real-life rental family services. Fraser delivers a soulful, understated performance in this gentle, humane comedy that the whole family can enjoy. [Read](https://deadline.com/2025/09/rental-family-review-brendan-fraser-toronto-1236508593/)
- **Eye for Film**, Jennie Kermode (80/100, inferred): The film is a well-paced, thoughtful character study that balances drama with gentle comedy. Fraser delivers a standout unshowy performance that anchors the story of an outsider finding unexpected connections. [Read](https://www.eyeforfilm.co.uk/review/rental-family-2025-film-review-by-jennie-kermode)
- **HeyUGuys**, Linda Marric (4/5): Fraser gives a tender, quietly funny performance in this bittersweet exploration of loneliness and connection. The film succeeds as a gently moving character study but retreats into sentimentality without fully confronting its deeper questions. [Read](https://www.heyuguys.com/rental-family-review-lff-2025/)
- **Collider**, Ross Bonaime (70/100, inferred): The film offers a tender, sweet drama anchored by Brendan Fraser's warm, gentle lead performance that plays perfectly to his strengths as a likable everyman. Hikari crafts a charming tone with strong supporting turns, but the screenplay stays light and could have explored the characters and their backstories in greater depth. [Read](https://collider.com/rental-family-review-brendan-fraser/)
- **The Playlist**, Gregory Ellwood (B-/C+): Fraser brings emotional depth to the role of an actor discovering purpose through rental family gigs in Tokyo. The film offers genuine tears through its sentimental tone but feels limited by its English-language perspective and casting choices. [Read](https://theplaylist.net/rental-family-review-brendan-fraser-finds-unexpected-connections-in-japan-tiff-20250906/)

## Details

- **Director:** Hikari
- **Director:** Hikari
- **Writer:** Stephen Blahut, Hikari
- **Cinematography:** Takuro Ishizaka
- **Editor:** Alan Baumgarten, Thomas A. Krueger
- **Music:** Jónsi, Alex Somers
- **Production design:** Norihiro Isoda, Masako Takayama
- **Costume design:** Meg Mochizuki
- **Producer:** Hikari, Eddie Vaisman, Julia Lebedev
- **Cast:** Brendan Fraser as Phillip Vanderploeg; Takehiro Hira as Shinji Tada; Mari Yamamoto as Aiko Nakajima; Shannon Mahina Gorman as Mia Kawasaki; Akira Emoto as Kikuo Hasegawa; Paolo Andrea Di Pietro as Handsome Actor; Shinji Ozeki as Casting Director; Takao Kin as Bartender
- **Runtime:** 1h 50m
- **Certificate (Statens medieråd):** 7
- **Release (Sweden):** 23 January 2026
- **Genres:** Comedy, Drama
- **Box office:** $27 million
- **Trailer:** https://www.youtube.com/watch?v=dWSSjaIGdDI

## Where to watch in Sweden

- Disney+: streaming, hd
- Amazon Prime Video: rent kr 49.00, uhd
- Amazon Prime Video: buy kr 149.00, uhd

*Checked 2026-09-10.*

Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Family Romance, LLC* (2019): Herzog films the real Tokyo rental family trade and does not look away from it.
- *Shoplifters* (2018), Fi1m 89: Kore-eda’s assembled family is a lie too, and he makes it cost. — [Fi1m page](https://film.one/film/shoplifters.md)
- *After Life* (1998), Fi1m 85: The dead pick one memory to keep; gentler than it sounds and much sharper. — [Fi1m page](https://film.one/film/after-life.md)
- *Lost in Translation* (2003), Fi1m 86: Two Americans adrift in Tokyo hotels, and the loneliness is allowed to stay. — [Fi1m page](https://film.one/film/lost-in-translation.md)
- *Marty* (1955): A big, shy man in the Bronx learns to want something; plain and lasting.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/rental-family