布蘭登費雪回歸之旅：這次不打木乃伊，他要打贏的是孤獨！
本屆金馬影展看的第二部片，是由 Brendan Fraser (布蘭登費雪）主演的《日租家庭》（Rental Family）。
從《泰山》裡傻氣又身材巔峰的大男孩、《神鬼傳奇》中帥氣的木乃伊殺手、再到《我的鯨魚老爸》裡外貌令人不適卻讓人忍不住想相信他的父親角色，如今，他在《日租家庭》中成為了一位「悲傷的美國人」。很高興布蘭登費雪踏穩回歸好萊塢的台階了！
以下是2025年11月第62屆金馬影展觀賞《日租家庭》的觀影心得。
以下有雷：
日租家庭的來由原來是心理諮商的替代品？
身為台灣觀眾，離日本相近的我們，或許對「出租自己」這種工作類型不陌生，甚至看過類似概念的作品。然而片頭不久，日租公司 rental family 的老闆就點出本片的核心世界觀——
「在日本做心理諮商會被污名化，所以民眾選擇租一個角色，代替無法直接面對的人。」
我這兩年因為工作的關係，剛好對心理健康的議題有比較多的關注，當下忍不住想：
這樣的標籤，在今天的日本仍然成立嗎？
雖然心中打了一個問號，但既然是本片的世界觀設定，我也就帶著這個前提繼續看下去。
落魄演員踏入日租世界的契機
Phillip（布蘭登費雪飾）是一位在日本努力掙扎、卻始終接不到好角色的演員；唯一有記憶點的是當初把他帶來日本的牙膏廣告。
某次誤打誤撞，他被邀請在某人的「生前告別式」上扮演「悲傷的美國人」。
為什麼全日本人的告別式需要一位美國人坐在告別式上？！
導演雖然沒有深究。我跟 Phillip 一樣好奇極了——是希望自己的最後一場戲看起來更國際化、交友廣闊嗎？
倫理的拉扯 – 當對手演員是「不知情的人」算不算一種欺騙？
半推半就地，Phillip 最終還是加入了這家委託他的出租家庭公司，然而，他卻在成為正式員工後立刻遇上挑戰道德底線的難題：
如果角色需要與「不知情的陌生人」互動，是不是一種欺騙，他還能毫無顧慮地演下去嗎？
Phillip 一度退縮，讓委託案差點開了天窗。但當他看到委託人因他的演出而露出燦爛又感激的真心笑容，那一刻，這份工作開始變得有意義起來。
接下來的出租角色，他當過遊戲陪打員、小女孩的爸爸，還扮演過回憶錄記者去採訪資深演員。
一步一步，Phillip 的生活開始有了新的軌道。
Purposeful Living 的力量
在不同的委託任務過程中，觀眾可以明顯看到 Phillip 的變化：臉上的表情變柔和了、家裡變整潔了，甚至面對未來的態度開始有了光！
難道，這就是傳言中 “Purposeful Living” 的力量？ 當一個人意識到自己的存在對別人有意義，他的生活也會開始改變，慢慢地、一點點地亮起來。
那段讓人悄悄拿出衛生紙的委託
Phillip 的其中一個案子，是受託扮演一位小女孩從未蒙面的父親，並陪同媽媽一起參加私立學校的面試。
學校徵選競爭激烈，而媽媽看來一切都計畫好了，她打聽到父母同時出席家長面試便能增加機會，問答中要能表達願意讓學校主導一切的信任；但媽媽萬萬沒想到 Phillip 在面試那天並未照稿演出。
他真心站在一個父親的角度，請求學校看見小女孩的創造力、同理心與好奇心，拜託學校不要抹滅這些特質，讓小女孩能好好發揮。
那瞬間，他不是演員，不是出租家庭的員工，而是一位真心為孩子說話的父親。
最終小女孩被錄取，我相信那段誠摯的發言加了不少分。
而我個人最喜歡的一幕，是他把小女孩送給他的美術作品吊在窗邊，那一臉藏不住的驕傲，像極了真正的父親。
千里尋人的冒險下場是…
Phillip 明顯是位性情中人，身為演員入戲當然可以，但身為一位出租家庭員工，過度入戲可能會釀成大禍。
原本只是女兒想給脫離演藝事業已久，有點阿茲海默症的老父親一點自信，委託 Phillip 假扮記者，以撰寫回憶錄為由採訪演員老爸，沒想到熟識之後，不知情的老人請求 Phillip 協助他「越獄」回老家一趟。
看著老人被拒絕後失望的神情，拒人於千里之外的生氣發言，他心軟了，即便不知原因，他依然千里迢迢將老人帶回多年未返的山中老家，只為重新擁抱故人遺照。
老演員事後喊著：「我好高興在我忘掉一切前可以看到她」，眼眶又濕了。
男人的尋根之旅浪漫歸浪漫，但終究要回歸現實；老演員下山途中體力不支緊急送醫，私自帶他出門又完全沒跟家人聯絡的 Phillip 差點吃上官司，連公司老闆都拒絕幫他。
各位，浪漫，是需要備案的呀！
讓人笑中帶淚的出租家庭員工
嚴格說起來，《日租家庭》的劇情並不是高潮迭起的類型，但在「越獄」事件後，Phillip 的同事想替他解圍，跑到老演員家假扮警察，想拜託還躺在床上的老人出面說情。
沒想到，突然聽聞檢察官也要來——
下一秒，探出頭的檢察官也是假扮的，是氣炸的 rental family 老闆本人！
全場觀眾一同大笑，緊繃的氣氛一瞬間消失了。
原來，儘管事件過後破口大罵 Phillip 危害公司信譽，老闆終究被 Phillip 的真心感動了，也讓他回想起當初創立公司的初衷。
淡淡又扣人心弦的溫度
《日租家庭》的劇情不灑狗血、不追求高潮迭起。
但日籍導演 Hikari (宮崎光代) 營造出那種淡淡的溫度、緩慢的節奏、看似平凡的對話，卻牢牢扣住觀眾的心。
這種令人回味再三的溫度，像一杯日本煎茶，那特有的溫柔與孤獨的質地，我想只有日本導演才能駕馭得這麼到位呢！
讓人不禁連想到，另一位我十分喜歡的日本導演——是枝裕和的電影也有類似的韻味。
日租家庭存在的理由是愛與孤獨與不得不
Phillip 在日本大城市獨自生活，載浮載沉，等待著遙遙無期的 breakthrough。
沒想到自己原本排斥的出租工作，最後竟成為救贖他的力量。
在與委託對象互動的過程中，為了入戲、為了讓對方接納自己，他必須自己摸索那些劇本沒有的弦外之音，無論是與新娘爸爸的擁抱拍背，或是在市集時將小女孩放在肩上的親暱互動，這些「脫稿演出」不是來自他身為演員的神來一筆，而是他實實在在瞭解每個委託案緣由後的真情流露。
於是我明白了，每個委託人的背後，都藏著幾分擔心、幾分顧慮、幾分不得不，還有很多分愛。
那些 Philip 互動的委託對象，或許有家人同住，但他們心裡是孤獨的，因為沒有人真正理解他們的恐懼、不安，與還少了點什麼的焦慮。
於是，出租家庭便成為他們情感缺口的替代品，出租演員們幫委託人把抽離的家人給帶回來。
這讓片頭那句話又回到耳邊——
「因為日本對心理諮商的接受度太低了，所以才需要我們。」
結語
繼《我的鯨魚老爸》之後，很高興布蘭登費雪又有機會演出一個能展現深度與細膩的角色，聽說神鬼傳奇又要重啟了，希望他能早日回到當年的風光！Hikari導演的作品我也會持續關注的！
題外話，我之前有寫一篇關於《我的鯨魚老爸》的影評，可以在這裡閱讀；若你還沒看過這部片，要知道布蘭登費雪可是因為這部片拿了奧斯卡最佳男主角呢，怎麼能錯過！
最後，如果你喜歡《日租家庭》或也是布蘭登費雪的粉絲，歡迎在底下留言或寫 email 跟我分享。也別忘了可以訂閱我的電子報才不會漏掉最新文章，你還可以在這裡找到我的其他電影心得。
如果你也喜歡《出租家庭》，或是布蘭登費雪的粉絲，歡迎留言或 email 和我分享。
Here come’s the English version.
“Rental Family” Review – A Gentle, Subtle Film That Quietly Finds Its Way Into Your Heart
Brendan Fraser’s Comeback: No Mummies This Time—Only the Quiet Battle Against Loneliness.
The second film I watched at this year’s Golden Horse Film Festival was “Rental Family”, starring Brendan Fraser.
From the goofy, muscle-bound wild man in “George of the Jungle”, to the charming mummy-slayer in “The Mummy”, to the heartbreaking father in “The Whale” whose appearance unsettles yet moves you—Brendan Fraser has taken on many faces throughout his career. In Rental Family, he becomes “the sad American,” and it’s genuinely wonderful to see him continue his steady, heartfelt return to Hollywood.
Below is my review after watching Rental Family at the 62nd Golden Horse Film Festival in November 2025.
Spoilers alerts!
Is Rental Family Meant to Replace Therapy in Japan?
Is the Rise of Rental Family Comes as a Substitute of Therapy?
As a Taiwanese viewer living close to Japanese culture, I’m no stranger to the idea of “renting a person”—a concept that shows up in various real-life services and even a number of films and news articles.
But what I found interesting is that at the beginning of the film, the boss of the rental family agency lays out the film’s core viewpoint:
“In Japan, going to therapy is still considered a disgrace, so people choose to hire someone to play a role they can’t directly face themselves.”
I happened to pay much attention to the mental health issues these two years due to my work. So the moment I heard this line, a question popped up:
Does this stereotype still exist in Japan today?
Although I felt a moment of doubt, since this was clearly part of the film’s narrative setting, I decided to accept the premise and move forward with this lens.
An Actor at Rock Bottom—and the Strange Job That Pulled Him In
Phillip (played by Brendan Fraser) is an actor struggling to make it in Japan, constantly auditioning yet never landing any memorable roles. The only gig anyone seems to recall is the toothpaste commercial he did when he first arrived in the country.
One day, in a twist of pure chance, he’s invited to play the role of “the sad American,” little did he know that it was actually someone’s pre-funeral rehearsal.
Seriously, why would a full-Japanese funeral require an American?
The film doesn’t offer a clear explanation, and like Phillip, I couldn’t help wondering—
Is it common for Japanese to plan their final performance to be more international, to show that they’re more worldly?
The Moral Dilemma– Is It Deception When Your “Acting Partner” Has No Idea?
Reluctant at first, Phillip eventually agrees to join the rental family agency. But as soon as he becomes an official employee, he runs straight into a moral dilemma:
If the role he plays requires him to interact with people who don’t know he’s acting, does that cross the line into deception? And if so, can he really keep performing knowing his conscious is eating him?
Phillip hesitates, and his first assignment nearly falls apart.
Yet when he sees the client’s face light up all at once—relief, gratitude, and a genuine smile—something shifts. In that moment, this strange job starts to feel… meaningful.
From there, his rented roles keep changing. He becomes a gaming companion, a little girl’s father for a few weeks, and even a memoir interviewer sent to speak with a retired actor.
Step by step, Phillip’s life begins to move onto a different track.
The Power of Purposeful Living
Throughout the different assignments he takes on, we can see Phillip begin to change; his expression softens, his home becomes tidier, and even his thinking toward the future becomes more positive.
Could this be what people call the power of “purposeful living”? When someone begins to recognize that their presence holds meaning for another person, their life shifts too—slowly, gently, and little by little, it starts to glow.
That Tissue-Grabbing Scene
One of Phillip’s assignments is to play the father of a little girl who has never met her real dad, and to accompany her mother to an interview at a prestigious private school.
The competition at the school is fierce, and the mother seems to have done all the homework. She believes that having both “parents” show up will give them an edge, and she repeatedly reminds Phillip to express complete trust in the school—to agree to everything, no questions asked.
What she doesn’t expect is that Phillip won’t stick to the script. Instead, he speaks from the genuine perspective of a father, asking the school to recognize the girl’s creativity, empathy, and curiosity—to nurture these qualities rather than suppress them.
In that moment, he isn’t just performing.
He isn’t merely a rental family employee.
He becomes someone who truly speaks for the child.
It’s no surprise that the little girl eventually gets admitted. I’m sure Phillip’s heartfelt speech added more than a few points.
One of my personal favorite scenes comes a bit earlier: he hangs the artwork the girl made for him by the window, wearing a smile he can’t hide—full of pride, the kind only a real father would have.
What Happened After a Romantic, Thousand-Mile Quest
Phillip is clearly someone who feels things deeply. As an actor, slipping into a role comes naturally—but as a rental family employee, getting too invested can become trouble.
This particular assignment starts simple: a daughter wants to restore a bit of dignity to her retired and a bit Alzheimer’s father, a former actor, so she hires Phillip to pose as a memoir interviewer and visit him.
But after meeting the old man, Phillip never expected to be pulled into something much bigger. The actor doesn’t realize Phillip is acting, and instead asks him—pleads with him, really—to help him make a “prison break”: a journey back to his home in the faraway mountain that he hasn’t set foot in for decades.
When Phillip sees the heartbreak look in the old man’s eyes after being denied, he changed his mind; even without fully understanding why, he agrees to the “prison break”. And so begins a long, impulsive trip up the mountain, just to help the old man embrace one precious old photograph of a girl in his past.
The old man shouted, “I’m so glad to see her again before I forget everything” I think my eyes got wet again.
And yes—romance is romance, but reality always comes calling.
On the way down the mountain, the old man collapses from exhaustion and has to be rushed to the hospital.
Phillip, who essentially took him on an unauthorized trip without notifying the family, nearly lands himself in legal trouble.
Even his boss refuses to help, furious that Phillip acted on his own.
Guys, lesson learned: romantic gestures are beautiful, but they absolutely require backup plans!
When Your Colleague is So Sweet
After the mountain “prison break” incident, Phillip’s colleague tries to help smooth things over by visiting the old actor’s home, pretending to be a police officer, hoping to convince the old man to speak up for Phillip.
Just when you think that’s chaotic enough, news arrives that a prosecutor is also on the way—
The next second, the “prosecutor” barges in… only for us to realize he’s fake too— It’s the rental family boss himself.
The entire theater burst into laughter, and the tension evaporated instantly.
It turns out that even though Phillip nearly got the company into serious trouble, his sincerity ultimately moves the boss, reminding him of why he founded the agency in the first place.
A Gentle Warmth That Sneaks Up on You”
Strictly speaking, Rental Family isn’t a plot-heavy film. It never aims for drama or sharp emotional spikes.
But under the direction of Hikari, the film cultivates a gentle warmth, a slow rhythm, and conversations that seem ordinary yet somehow quietly grip your heart.
This lingering warmth is like a cup of Japanese sencha—subtle, soft, carrying its unique blend of comfort and loneliness. I can’t help but feel that only a Japanese filmmaker could capture such a delicate mood so precisely.
It naturally brings to mind another Japanese director I adore—Hirokazu Koreeda—whose films carry a similarly tender flavor.
Rental Families Exist for Love, Loneliness, and the Things We Can’t Say
Phillip lives alone in the vastness of Tokyo, drifting through his days while waiting for a breakthrough that never seems to arrive.
He never imagined that the rental job he once resisted would eventually become the thing that saves him.
During his assignments, in order to play his role well—and more importantly, to be accepted by the people he interacts with—Phillip has to lean into all the unscripted moments: the extra beats between lines. These gestures don’t appear in the instructions.
Whether it’s embracing a bride’s father, patting him reassuringly on the back, or lifting a little girl onto his shoulders at a street market, these “improvised scenes” aren’t moments of actorly brilliance. They’re traces of genuine emotion that surface when Phillip truly understands what each client is going through.
That’s when it dawns on me: behind every client lies a mix of tenderness, worry, longing, reluctance—and love.
The people Phillip interacts with may live with family, but inside, they are lonely in ways no one around them truly sees.
No one fully grasps their fears, their anxieties, or the quiet dissatisfactions that have built up over time.
And so, rental families become emotional stand-ins, filling the gaps others cannot.
These actors bring back the presence of someone the client has lost—or never had.
At that moment, the boss’s words from the beginning echo clearly again:
“People in Japan still aren’t comfortable going to therapy. That’s why they need us.”
The Ending Note
After The Whale, it’s truly a joy to see Brendan Fraser once again take on a role filled with depth, nuance, and quiet emotional weight. Word has it that more exciting projects are ahead for him—I sincerely hope he continues to regain the brilliance of his earlier years. I’ll definitely be keeping an eye on whatever Hikari directs next as well.
By the way, I wrote another review about The Whale previously—you can read it here.
If you haven’t seen the film yet, just know: Brendan Fraser won the Oscar for Best Actor for that performance. How could you say no?
If you love this film “Rental Family” or are a fellow Brendan Fraser fan, give me a shout-out below or simply drop me an email.
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