This girl - a free-spirited and optimistic woman in her early twenties - serves as the movie’s driving force and a foil to everyone around her. Stumbling from party to party, she unites groups of people which at first glance seem to have no connection, but are all related in one way or another. She brings joy to those glooming over a distant future and the time rushing by simply through appreciating the present and what is - not what could be. And no matter what opportunity presents itself to her, she seizes it, thus preventing the festive train of events from derailing and allowing for the events to stay diverse but never confusing.
Opposite to her stands everyone else.
Her lovestruck and eponymous Senpai is a daydreamer: he keeps taking roundabout ways and plotting numerous silly coincidences to gain the attention of his love interest; he believes in a magic item that will gain her affection - without ever actually putting himself out there or getting to know her. Throughout the film, he learns to take action in an embarrassingly grandiose fashion, but fails miserably… or at least he thinks he does. In reality, while he gives in to gloom, the sweet seeds of love have already been sown, and will - thanks to his love interest’s simple nature - slowly but surely spring into bloom.
However, while their love story functions as the movie’s foundation, the juxtaposition of the optimistic and opportunistic raven-haired maiden and the pessimistic and cynical old Rihaku builds its thematic cornerstone. While Rihaku views the Fake Denki Bran as a failure for not replicating the original drink’s characteristics, the girl simply appreciates its taste; while he keeps an enormous collection of books all to himself, damaging the natural connection of the books, she disperses the collection and repairs their connection. Rihaku believes himself to be all alone, that noone has any connection and everything is acquirable through money, thus superficial. The girl serves as his mirror, proclaiming proudly that everyone is bound to each other in the end, that he is definitely not alone.
Their opposing ideas are conveyed simply but beautifully through the use of light instrumentation on the girl’s side and a heavy trombone for Rihaku, both of which while first separated in their own segments, begin playing alongside each other as they engage in direct discourse. It isn’t only during these moments where the soundtrack impresses however: be it a musical number, running to one’s love or just the opening to a drinking battle, the brass-instrument-heavy orchestral soundtrack almost always delivers.
But while the soundtrack does disappoint a few times during the movie’s run, the visuals never do. Colors are Yuasa’s best friends and it definitely shows: be it simple things such as temperature of drinks and food, the over-the-top antics of the protagonists, dream-like adventure sequences or heartwarming moments - he completely nails all of it! During the whole film, he uses the red of the protagonist’s dress as signal color for many key objects like the red string that needs to be cut to repair the connection of the used books and the recurring daruma who supports the optimistic nature of the film. Through the use of such key colors and great shot composition, he creates many beautiful pictures, and an equally beautiful movie with it.
The Night is Short is wholly optimistic and simplistic. Led by the tracks laid out to them by fate, the protagonists stumble from one insane incident to another, without ever derailing from their wacky antics. Their sheer energy may seem overwhelming, but at the center lies one simple truth: Everyone is connected. You aren’t alone.
Score: 90
