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Tag: Hikari

  • ‘Rental Family’ spotlights real-life Japanese businesses that offer fill-in relatives and friends

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    TOKYO (AP) — Ryuichi Ichinokawa’s life could be right out of the movie “Rental Family” as the founder nearly two decades ago of the Heart Project business in Japan, which he bills as a surrogate attendance service complete with furnishing of extras and family members.

    He has hired dozens of people to act like reporters with cameras and voice recorders, taking notes and milling with real journalists to fill up an otherwise rather vacant event. He has posed as the boyfriend of a woman who needs to discuss legal paperwork with her former spouse. And he has gone to a hospital as a stand-in husband for a woman getting fertility treatments.

    “I am being of service to people. I hope they will be happy,” said Ichinokawa, a dapper elderly man who asked The Associated Press to not be photographed lest his identity become public.

    “Rental Family,” a moving drama from Searchlight Pictures starring Brendan Fraser, is sure to spark interest in Japan’s real-life industry. The film, which opens in theaters Friday, centers on Phillip, an American actor who is recruited by a Tokyo “rental family” agency in need of a “token white guy.” His recurring jobs range from playing video games with a loner to portraying a little girl’s long absentee father. It isn’t long before Phillip starts to become emotionally invested in what were supposed to be superficial relationships. The film’s Japanese supporting cast also bring to life the intense highs and lows of assuming a role in a stranger’s life.

    In reality, these niche businesses highlight how deeply people in Japan experience loneliness or worry about keeping up appearances. Outsiders may cringe at the idea of paying amateur actors to be fake family members or friends. But users say they find these services comforting and even healing.

    Rental roles can vary and be stressful

    The film’s director, Mitsuyo Miyazaki whose professional name is Hikari, was born in Japan yet knew little about the concept. Once she learned about it, she couldn’t stop thinking about what a unique story it could inspire. So Hikari started researching and found hundreds of companies in Japan that offer rental families or similar services. She spoke with several people in that world.

    “I kind of started tackling those questions, and interviewed them on what are the necessities of the business that needs to happen in Japan. And then that’s how I kind of built stories,” Hikari said.

    Even at a time when people seek company through Artificial Intelligence, she thinks hiring of actors to fill emotional voids will always be in demand.

    “I don’t think they will disappear, honestly, it might just probably expand,” she said.

    In Ichinokawa’s experience, most people who ask for the service have a certain social status to protect. He has organized visits to a bar for a hostess who wants to impress her employer with lots of clientele. Similar to the movie, Ichinokawa has gone to school events with a single mother and her child, acting as a friendly uncle.

    Sometimes Ichinokawa takes extra steps to ensure the facade. If required, he will print fake business cards — which are routinely exchanged at Japanese gatherings.

    Some parts are easy, like being a wedding guest who just sits and eats. But it’s often stressful work. You’re coached to avoid uttering the wrong name or background information. You might have to be prepared to talk about childhood memories you have no clue about. Ichinokawa used to scribble names on his hand. He also pores over notes in advance. If he’s really desperate, he excuses himself to the restroom.

    Payment for getting rented out varies. For Heart Project, the relatively easy roles can make 9,800 yen ($63) for a couple of hours. For the more elaborate parts, the client dishes out 20,000 yen ($130) to 30,000 yen ($190) per person.

    Ichinokawa’s rule is that you only play a role once. To do it more than once is setting yourself up for failure. And he has never failed in his mission, he added proudly.

    “I don’t feel I am acting. I really get angry if that’s what the situation requires,” he said.

    Japan’s loneliness epidemic

    Japan has long grappled with loneliness, high suicide rates and a stigma surrounding mental illness. After a 2011 earthquake and tsunami, the country examined how the disasters were affecting mental health, said Miwa Yasui, a professor at the University of Chicago whose research includes the influence of culture on mental health.

    Today, there are more mental health providers and an understanding of the need for counseling in Japan. During the pandemic, volunteers focused on teen depression started an online Japanese-language chat service.

    Japanese people isolated physically are prone to feeling it internally, said Chikako Ozawa-de Silva, author of “The Anatomy of Loneliness: Suicide, Social Connection and the Search for Relational Meaning in Contemporary Japan.”

    “When people feel they’re not loved, they are not accepted, they’re now seeing they’re not heard. The sense of ‘I don’t matter’ is a form of loneliness,” said Ozawa-de Silva, who is also a professor at Emory University.

    This can lead to “hikikomori,” where people withdraw socially and become shut-ins for months or even years.

    Japanese culture’s collectivist nature also contributes to hiding mental health challenges. Children are taught the principle of “minna no tame ni” or for the sake of everybody, Yasui said. As adults, there is pressure to maintain harmony and make sure the needs of others — work or family — are met.

    “Within Asian cultures, there’s a concept of loss of face,” Yasui said. “If you lose that, that actually has significant implications.”

    In Ozawa-de Silva’s opinion, renting actors for surface-level intimacy is putting a “Band-Aid” on a deeper problem.

    “I’m not against that,” Ozawa-de Silva said. “If people can buy time by renting a family, while pursuing much better long-term solutions, I think the rental family could be a very, very beneficial thing.”

    Rental families and real connections

    While someone with a Western mindset might find renting actors bizarre, many Japanese people find it reassuring. Much of the written feedback Ichinokawa gets expresses relief or appreciation: “Thank you for today. You really interacted with us like a real mother. My boyfriend kept saying, ‘What a great mom.’” From a male client: “Please relay my regards to the person who played the role of my wife and tell her she was a superb wife.”

    The film, which will be released in February in Japan, uses the rental family concept to remind people that human nature’s need for connection is not something you can suppress.

    “When you help somebody and if they feel like you’re being supportive, that makes you feel good,” Hikari said. “And a family member doesn’t have to be alway blood-related.”

    ___ Tang reported from Phoenix.

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  • London Film Festival’s Standout Works Offer Portraits of Connection in a Disconnected World

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    A still from Kaouther Ben Hania’s The Voice of Hind Rajab. Courtesy BFI London Film Festival

    The most challenging of times bring us the best art. Or at least, that’s what we tell ourselves, balancing the struggles of the modern era against the hope that something may come of them. This year’s crop of cinematic awards contenders suggests that our current trying times are inspiring varied, far-reaching responses to the quandaries that face us, yet there are thematic echoes resonating through even the most seemingly discordant films. Those themes felt especially poignant at the BFI London Film Festival, one of the final major festivals leading into the push of awards season. After opening with Rian Johnson’s Knives Out: Wake Up Dead Man, a cleverly wrought meditation on faith, the 10-day festival showcased a diverse array of storytelling from around the world. At the heart of almost everything were reflections on two ideas: loss and isolation.

    Loss manifested most obviously in films like Chloé Zhao’s Hamnet and Clint Bentley’s Train Dreams—tactile and beautiful stories about grief and how we continue to move through the world after the loss of a child (also explored in The Thing With Feathers). Kaouther Ben Hania’s essential film The Voice of Hind Rajab similarly explores the depth of sadness a young person’s death can manifest, but it acts more like a call to arms than a quiet meditation. Based on real events and using real audio, the docudrama depicts the killing of a six-year-old Palestinian girl at the hands of Israeli forces, confronting the viewer with the reality of the war, ceasefire or not. It is a film about what we have lost, but also what we will continue to lose.

    Two men stand in a prison or institutional hallway, one wearing gray sweats and the other a white tank top, looking at each other with tense expressions.Two men stand in a prison or institutional hallway, one wearing gray sweats and the other a white tank top, looking at each other with tense expressions.
    Tom Blyth and David Jonsson in Wasteman. Courtesy BFI London Film Festival

    Grief isn’t just for people, as several of this year’s films acknowledge. Father Mother Sister Brother, Sentimental Value, High Wire, & Sons and Anemone grapple with the tenuousness of familial relationships, while The Love That Remains, Is This Thing On? and even Springsteen: Deliver Me From Nowhere face dissipating romances head-on. Some, like Bradley Cooper’s effortlessly charming Is This Thing On?, assert the possibility of reconciliation. Perhaps any relationship is worth another shot. Richard Linklater’s slight but compelling Blue Moon reckons with another type of loss: artistic identity. Ethan Hawke plays songwriter Lorenz Hart, mere months before his death, as he accepts his fate as a failure on the evening his former creative partner Richard Rodgers opens the successful Oklahoma!

    Hart’s disconnect from Rodgers, the tragic core of Blue Moon, suggests that we may fear isolation even more than loss. Grief is often ephemeral, easing over time, but a lack of human connection can last a lifetime. Hikari’s thoughtful film Rental Family stars Brendan Fraser as an American living in Tokyo, far removed from both his culture and his prior life. He’s alone, which draws him to a job feigning connection for other isolated people. Pillion, a standout of the festival and filmmaker Harry Lighton’s feature debut, suggests that we can only discover real connection once we are honest about who we are and what we want. The film is aided by Harry Melling’s vulnerable performance as a young British gay man who finds solace in a submissive relationship with the leader of a biker gang. We are less far apart than we think, sexual preferences aside.

    A man in a dark leather jacket walks beside another man wearing a motorcycle jacket at night on a city street illuminated by string lights.A man in a dark leather jacket walks beside another man wearing a motorcycle jacket at night on a city street illuminated by string lights.
    Harry Melling and Alexander Skarsgård in Pillion. Courtesy BFI London Film Festival

    Isolation isn’t always solved by the presence of someone else, as examined by Lynne Ramsay’s Die My Love, a confronting look at female mental health. As a postpartum woman with bipolar disorder, Jennifer Lawrence is feral and completely at sea, lost even when she’s with her husband and child. She tries to ground herself with sex, alcohol, and even violence, but she’s so disconnected from herself that there is nothing to hold on to. In The Chronology of Water, Kristen Stewart’s directorial debut, Imogen Poots embodies real-life writer Lidia Yuknavitch, who also turns to substances and sex as a way of rooting herself in reality. It doesn’t work, but Lidia eventually finds writing as a means of connection and a way to absolve herself of a traumatic past. In Wasteman, another standout of the festival and the feature debut of British filmmaker Cal McManus, inmates share a forced connection but can only move on from their crimes by standing up for themselves. Shared circumstances may not unite us after all, as McManus explores through his lead character, played by rising actor David Jonsson.

    Although Palestinian history and identity were prominently and importantly on display during the festival in The Voice of Hind Rajab, Palestine 36 and Hasan in Gaza, this year saw a distinct lack of overtly political films. It’s not a year for war epics or presidential biopics, but instead for more intimate stories that underscore the idea that the personal is political. Despite being united by the internet and social media, we often feel alone in our struggles and experiences. Films remind us of what we share and why we share it, especially in tumultuous times like these. Loss and isolation impact everyone, everywhere, as so many filmmakers and screenwriters are presently exploring. In the spotlight this awards season are human stories about human emotions and human fears, told in charming and sometimes hauntingly unique ways. As the BFI London Film Festival lineup underscored, this is a particularly good year for cinema. Ideally, it will leave behind a record of a specific thematic moment in modern history—one where we know what there is to lose and we’re willing to face it anyway.

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    London Film Festival’s Standout Works Offer Portraits of Connection in a Disconnected World

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    Emily Zemler

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