Brendan Fraser‘s comeback story may have reached its peak with his Oscar-winning role in “The Whale” (2022), but Hikari’s moving drama “Rental Family” proves he still has new depths to explore. The Japanese-set dramedy premiered at the Toronto International Film Festival on Saturday and could very well serve as Fraser’s next ticket into the best actor race.
In the film, Fraser plays Phillip Vandarploeug, a lonely American actor adrift in Tokyo who begins working for a “rental family” agency, stepping into surrogate roles in the lives of strangers. What could be a quirky premise blossoms into a deeply humane exploration of belonging, identity and emotional labor. The conceit is inherently crowdpleasing — a man stumbling into strangers’ lives and finding unexpected connection — but Hikari steers it with earnestness, elevating it beyond sentimental comedy.
The film’s exploration of commodified intimacy arrives at a particularly resonant moment. In our hyper-connected yet profoundly isolated digital age, “Rental Family” examines what happens when human connection becomes a service industry. The Japanese rental family phenomenon — where people pay strangers to fulfill familial roles — might seem foreign to Western audiences, but it speaks to a global crisis of loneliness that transcends cultural boundaries. Fraser’s American outsider navigating this world becomes a mirror for viewers, questioning the authenticity of their own relationships in an era of curated social media personas and transactional digital interactions.
The beauty of Fraser’s performance lies in pure, heartfelt execution. Unlike the overt physical transformation of “The Whale” or the rugged bravado of “The Mummy,” his Phillip is quiet, tentative and often awkward, revealing layers of alienation that are relatable. There’s a resonance in seeing Fraser — once the box office everyman, then Hollywood exile, then comeback king — now playing a man who feels invisible until he steps into someone else’s narrative.
This meta-textual dimension is used expertly by Fraser, and something the Actors Branch may be attracted towards. Oscar voters are often drawn to performances that blur the line between role and real-life persona. In Phillip, Fraser finds a character whose journey somewhat mirrors his own: a man searching for purpose, rediscovering his worth and ultimately touching the lives of others in profound ways.
“Rental Family” also has the makings of a strong Toronto People’s Choice Award contender. TIFF audiences historically embrace films that balance accessibility with emotional impact — “The King’s Speech,” “Green Book” and “The Fabelmans” are all past winners. Hikari’s film shares that DNA: it’s funny without being frivolous, emotional without being manipulative, and culturally specific while universally resonant.
The film’s cross-cultural appeal speaks to cinema’s power to bridge seemingly insurmountable differences. By placing an American protagonist within Japan’s unique social service economy, which is also devoid of a traditional “villain,” Hikari creates a lens through which Western audiences can examine their own assumptions about family. The movie asks uncomfortable questions: If genuine care can be purchased, what makes “real” relationships more valuable?
While Fraser is the obvious awards hook, the film’s strengths extend further. Hikari, who previously directed “37 Seconds” and episodes of “Beef,” crafts an understated but visually rich narrative, weaving Tokyo’s neon glow with the intimacy of makeshift homes. Searchlight Pictures’ involvement ensures a savvy campaign, with possible pushes in original screenplay (which also includes co-writer Stephen Blahut) and perhaps international-friendly categories like cinematography (Takurô Ishizaka) and original score (Jónsi and Alex Somers).
Hikari’s directorial choices prove particularly sophisticated in their cultural sensitivity. Rather than exoticizing Japanese customs for Western consumption, the film treats the rental family concept as a natural response to modern social isolation. The visual language seamlessly blends Tokyo’s urban sprawl with intimate domestic spaces.
Still, best actor would seem to be the core play here. Fraser’s heartfelt turn, coupled with TIFF buzz, could easily place him in the top tier of contenders alongside heavyweights like Dwayne Johnson (“The Smashing Machine”) and Jesse Plemons (“Bugonia”), along with others expected in this year’s crowded lineup. I would also point out the memorable and enriching works of Takehiro Hira and Mari Yamamoto in their supporting turns.
If TIFF’s Audience Award has historically pointed to Oscar glory, “Rental Family” could be Fraser’s bridge from comeback star to Academy mainstay. And with a November release from Searchlight — perfectly timed for awards season — it has all the ingredients to become one of the year’s defining crowdpleasers.
