I watched Masaaki Yuasa’s 2017 feature-length anime, Night Is Short, Walk on Girl, just a couple hours after a virtual screening of Lee Isaac Chung’s 2020 Minari. The latter was exalted in reviews scattered with words like ‘gentle,’ ‘lovely,’ and ‘tender’; it is these very qualities that are Minari’s greatest strength. As a daughter of an immigrant, I felt a certain emotional proximity to Minari’s characters, and left the screening still enveloped in this warmth. Plunging into Yuasa’s film an hour later was like a sudden temperature change––the slow, meditative images of Minari were displaced by an intense flurry of color, shape, and sound. Yuasa’s animation is psychedelic, playing with style and movement without attention to either’s boundaries; the animated world he creates is “exaggerated, distorted and impossible,” and all the more entrancing for it (Robinson). Night Is Short, Walk on Girl packs in a dizzying amount of plot––in its ninety minute runtime it manages to include a pub crawl, a quest to find a treasured book, a guerilla theater production, a flu epidemic, and a love story. But all this diegesis never feels excessive. The dynamism of the film’s animation keeps pace with the frenetic plot, making for a uniquely imaginative and unforgettable fun.