In 1991, a unique family rental service was established in Japan, marking the beginning of a trend where professional actors were hired for what the company termed “soft services,” aimed at providing compassionate human connection. This innovative concept gained traction, inspiring a wave of similar businesses across the country.
About two decades ago, entrepreneur Ryuichi Ichinokawa founded the Heart Project, which expanded the notion of rental services by offering individuals for various roles in people’s lives, including substitute family members. The cost for these services typically ranges from $63 to $190, depending on the role.
The exploration of this fascinating subject culminated in the narrative feature film, Rental Family, featuring Brendan Fraser. The film, shot in Japan, was co-written by Stephen Blahut, a seasoned screenwriter and cinematographer who developed a deep understanding of Japanese culture after living in the country. Blahut’s co-writer, Hikari, a Japan-born director residing in the United States, is recognized for her work on the Netflix series Beef.
During the collaborative writing process, Hikari and Blahut delved into the various odd jobs that Americans might find in Japan, eventually discovering the concept of “rental family.” Hikari, who grew up in Japan, found the existence of such services surprising. She highlighted the extensive research she conducted, interviewing industry professionals to gain insights into what clients were seeking.
Fraser stars as Philip, an American struggling for acting gigs in Japan after a brief stint in a toothpaste commercial. His journey takes a turn when he accepts a job from a rental family company, where he initially serves as a “token white guy.” His assignments challenge him to engage emotionally with clients, helping different characters navigate their personal circumstances, such as pretending to be a fiancé or a father figure.
The film illustrates Philip’s emotional growth as he transforms from a lonely outsider to someone who forges genuine connections. Hikari noted that rental family services have emerged in Japan due to societal tendencies, where people often seek companionship or support but may feel uncomfortable burdening family members. Instead, they turn to professional services, creating a unique societal phenomenon.
Japan’s rich cultural history of performance further normalizes the concept of hired actors, echoing traditions from kabuki theater. Hikari acknowledges that, despite the rising popularity of AI companionship, there will always be a demand for genuine human presence.
Filming in Tokyo presented its challenges, especially navigating the bustling crowds and ensuring consideration for public spaces. Despite the hurdles, Hikari maintained an optimistic outlook, believing every challenge in filmmaking can lead to creative solutions.
Brendan Fraser embraced his role, living in Japan for five months before production. His willingness to engage with the language and culture endeared him to the cast and crew. Hikari’s choice to cast him was rooted not only in his acting talent but also in his genuine personality.
As a filmmaker, Hikari emphasized the importance of human connection, especially in a world often marked by division. She expressed hope that her film could foster understanding and compassion. Her reflections on cultural representation resonate strongly, as she notes the vital need for authentic narratives around Asian characters, moving beyond stereotypes.
With the positive reception of Rental Family in Japan and internationally, Hikari is currently working on new projects, including a film adaptation that aims to evoke emotional connections akin to those portrayed in her cinematic endeavors. Her vision is to promote understanding and human connection, fostering a more compassionate world through the art of storytelling. By illustrating the diverse and shared experiences of humanity, Hikari hopes to bridge cultural divides and inspire positive change.