Tokyo

Nine of the top 10 mega-cities are in Asia, with Bangladesh’s Dhaka projected to be the world’s largest city by 2050.

A new United Nations report has found that Indonesia’s capital Jakarta is the world’s largest city with 41.9 million people living there, followed by Dhaka in Bangladesh, which is home to 36.6 million.

A low-lying coastal city located in the west of the densely populated island of Java, Jakarta rose from second place to replace Tokyo, which had been named the world’s largest city in the UN’s most recent assessment published back in 2000.

The Japanese capital’s relatively steady population of 33.4 million saw it fall to third place behind Bangladesh’s densely populated capital, Dhaka, which jumped to second place from ninth and is now projected to become the world’s largest city by 2050.

The World Urbanization Prospects 2025 report from the United Nations Department of Economic and Social Affairs also found that the number of megacities – urban areas with more than 10 million inhabitants – has increased to 33, four times more than the eight megacities that existed worldwide in 1975.

Asia is home to 19 of the world’s 33 megacities, and nine out of the top 10. In addition to Jakarta, Dhaka and Tokyo, the other Asian cities in the top 10 are: New Delhi, India (30.2 million); Shanghai, China (29.6 million); Guangzhou, China (27.6 million); Manila, Philippines (24.7 million); Kolkata, India (22.5 million); and Seoul, South Korea (22.5 million).

With a population of 32 million people, Egypt’s Cairo is the only city in the top 10 that is outside Asia, according to the UN.

Sao Paulo in Brazil, with 18.9 million people, is the largest city in the Americas, while Lagos in Nigeria also grew rapidly, making it the largest city in sub-Saharan Africa.

Still growing

Dhaka’s rapid growth has partly been driven by people from rural areas moving to the capital, searching for opportunities or fleeing hometowns due to problems including flooding and rising sea levels, made worse by climate change.

Jakarta is also facing problems due to rising sea levels. It is estimated that up to one quarter of the city could be under water by 2050.

The problem is so serious that Indonesia’s government is building a new purpose-built capital city in Nusantara in Borneo island’s East Kalimantan province. Yet while the city’s officials and parliamentary buildings will have a new home, the UN estimates that 10 million more people will be living in Jakarta by 2050.

The city’s growing population will also have to contend with concerns over inequality and affordability, which saw thousands of people take to the streets of the Indonesian city earlier this year, reflecting rising anger over the conditions of low-income workers, including app-based motorcycle ride-share and delivery riders.

Meanwhile, according to the UN report, Iran’s capital Tehran, which is facing water rations because it is close to running out of water, currently has a population of nine million people.

The new assessment also saw changes as the UN adopted new measures to try to address inconsistencies in how different countries defined urbanisation.

The UN also said that in most cases its report reflected the size of individual cities, rather than two cities that have grown together, with a small number of exceptions.

The new definition defined a city as a “contiguous agglomeration” of one-kilometre-square grid cells with a density of at least 1,500 inhabitants per square kilometre and a total population of at least 50,000.

Directed by Japan’s monomonikered Hikari, “Rental Family” — a beautifully moving and affably humorous story of human connection — kicks off with one funeral and culminates with another, demonstrating the evolution that our protagonist, Philip (Brendan Fraser), goes through during his personal journey between these two events.

The first funeral is a shock. Philip is a struggling actor in Tokyo, with one massively successful commercial as a toothpaste superhero mascot under his belt. His agent has booked him a gig as “Sad American,” a role he can easily play with his looming height, doleful eyes and a heart he wears on his sleeve. Late as usual, he dashes to check in for work and is shocked to stumble into a somber funeral. He’s even more shocked when the formally dressed corpse starts emotionally reacting to the tearful eulogies.

The scene is a marvel of revelation and reaction from Fraser and, in fact, much of the genius of his performance in “Rental Family” comes from his reactions, especially as he discovers the weird and wonderful new job he’s landed.

In the screenplay by Hikari and Stephen Blahut, Philip finds himself working for Tada (Takehiro Hira), who runs a company called Rental Family that’s hired by clients to provide staff to role-play in various real-world scenarios — the fake funeral, for example, or as a mistress apologizing to a spurned wife or just for friendship. Philip’s first role is quite complex: He plays a Canadian man getting married to a young Japanese woman in a show wedding for her conservative parents. She’s queer and needs an out in order to be with her real partner. Philip, who is earnest and honest to a fault, chafes at the lie but soon realizes that he’s helping someone to live their authentic life, so he throws himself into it.

Rental Family’s service is all about maintaining Japanese values of propriety and politeness through performance, and the little (or big) white lies are manipulations to get what the clients want: an apology, companionship, love, admiration, closure. Philip’s most challenging high-wire act proves to be posing as the long-lost American father of a shrewd and emotionally intelligent young girl, Mia (Shannon Mahina Gorman), in order to secure her school admission. Both Philip and Mia’s mom (Shino Shinozaki), the client, soon realize that it’s much more complicated than just pretending to be a nuclear family for a school interview.

While playing daddy, Philip also juggles a role as a curious journalist profiling an aging, iconic (but largely forgotten) screen actor, Kikuo (Akira Emoto), from whom he learns surprising lessons about life, memory and legacy. He finds himself deeply connecting with these people, young and old, and learning from them, while becoming tangled in their lives.

Empathy pours off Fraser in waves, which is what made his Oscar-winning performance in “The Whale” work. Hikari channels that quality to good use in “Rental Family” but never oversteps. The film is sweet and affecting, never treacly or overly sentimental. She knows how to balance humor and poignancy, to allow Philip to be a grown man with his own needs and peccadilloes and mistakes, though we never question his motivations because of the inherent goodness that radiates off Fraser.

Hikari’s naturalistic style perfectly suits this story. The Tokyo that she showcases is one of quotidian everyday life, not the futuristic neon city that an outsider might capture. Hers is one of small, cramped apartments, karaoke bars, public transit, hotels, temples and schools. It’s a world occupied by normal people who sometimes need a little help, a little push to get the things they want in life. Philip is there to provide that service even though he’s also in need of his own connection to others.

But it’s the mishaps along the way that actually help Philip to grow. By the time we get to the second funeral, we see how much he has bloomed. Fraser has an openness to his expression that’s like a flower unfolding, beaming in the sunlight of recognition and personal fulfillment. As an actor, Fraser’s second act has been a sight to behold. He’s the emotional anchor of this life-affirming and quietly resonant film about the importance of being together — a movie that announces Hikari as a major talent.

Walsh is a Tribune News Service film critic.