Brendan Fraser will return to the Toronto International Film Festival with Rental Family, co-written and directed by Japanese filmmaker Hikari, who explores the meaning of unconventional bonds and belongings.
Fraser, who appeared on Darren Aronofsky’s “The Whale” (2022) and last in TIFF, said in his Oscar-winning role, that the project quickly hit him, unlike anything else in his career.
“So far, it’s been far from what I saw,” Fraser says. “The story is an unusual way to meet the needs of those who are shocking their families, and it felt like a movie in itself without a villain.
The film follows Fraser’s character, Philip Vanderplug. Philip Vanderplug is a castaway from Tokyo’s outsiders and is entangled in Japan’s lesser known “rental family” industry.
Hikari, who has long been fascinated by the stories of selected families, said she was attracted to the phenomenon as she was infected during an era of disconnection.
“This business has been in Japan since the 1980s, but people really didn’t know about it,” explains Hikari. “Family is everything to me, but I wanted to show the beauty of the families and communities that were discovered. People felt lonely in modern culture, but this kind of service brings people together in a very troublesome and engaging way. I wanted to share that story with the world.”
The film tackles the idea that connections don’t require blood. Fraser’s Philip begins to form a bond between a young girl and an older man who comes to represent a family he has always lacked.
“Brendan’s character didn’t have a father figure,” says Hikari. “So everyone who comes to his life will fulfill that missing role. The older gentleman will become his father, the little girl will become his daughter, and everyone else will surround him as a companion. That’s his family.”
For Fraser, the story reflects a sense of isolation and a universal longing for belonging. “At times in life, we all wanted to be part of something, and we felt like we were trying to get in by pressing our noses against the glass,” he says. “I just had to be there and let the environment speak of itself. It’s a love letter to Tokyo addressed to solitude.”
Fraser made films in Japan for four months and learned enough Japanese to hold himself on set. Hikari gave him “B-Plus” for his efforts.
“I’m a great copycat,” jokes Fraser. “In the end, I at least managed to understand the conversation, and I realized that language is not important when you need to communicate.
While the Hollywood industry faces criticism of the few films directed by women this year, Hikari has expressed pride in being one of the voices represented.
“Making a film is extremely difficult. It takes hundreds of people,” she says. “I’m pleased that director in a female body – still makes a film. I’m proud to be here among so many amazing filmmakers.”
Following the Oscar victory, Fraser admits that the project’s choice has become more challenging and exciting.
“Whatever is being made now, it’s because it’s a good material, because the audience can skip to the next thing in the palm of their hand,” Fraser says. “That means you really need to up your game, choose more carefully and get better.”
Next to Dockett, Fraser features Focus’ President Dwight D. Eisenhower with the film Pressure, a drama focused on the decision-making behind D-Day Invasion. He will star alongside Andrew Scott.
Ultimately, Hikari wants to leave viewers with “Rental Family” a sense of security and resilience.
“Know that everything’s going to be okay,” she says. “If you’re stuck, the answer is usually within yourself.”
Added by Fraser: “The villain is indifferent. Bring tissues with you.”
