Brendan Fraser gives an empathy, softness, and delicacy to the lead character, an actor who joins a Japanese “rental family” agency, playing stand-in roles for strangers. He’s the beating heart of the film and allows the audience to connect with every one of his decisions. The movie’s Lost in Translation-like cultural differences raise interesting questions about the titular company and the effect they have on clients, whether positive, negative, or both. The concept is not only unique, but fascinating from a deeper level, and allows for an emotional patience.

However, the film’s editing lacks the same patience as Hikari’s direction, rushing from and to plot points instead of letting the story’s pace and certain scenes breathe and feel more meditative. The supporting cast is really great here, particularly the outstanding Takehiro Hira, Mari Yamamoto, and Akira Emoto. Every part, no matter how small, possesses a special key to the film’s heart. The film embraces its themes about the beautiful risk that comes with living life to the fullest by being there for and with others. However, the final act finds a messy resolution that’s slightly confusing from a thematic perspective. The film works best when it’s subtle, and least when it’s in your face, but thankfully it’s charming, gentle, and will likely work well for everyone who chooses to watch it.