从今天到明天

从今天到明天Based on a
n unknown Schö
nberg o
pera from 19
29, From Toda
y Until Tomorro
w explores
one nig
ht in a no
t-quite loveles
s marria
ge. A husba
nd and wi
fe return
from a party w
here she h
as flirted w
ith another ma
n, while he
has cast an a
ppraisin
g eye towar
d an attra
ctive,
fashio
nably dressed
acquaintance
of his wife’s.
Though ea
ch dreams,
briefly,
of leaving t
he marriag
e for the
exciteme
nt and my
stery of a
new lover, i
n the end
they decide
stability
and com
fort ar
e more impo
rtant than t
he fleeting th
rill of ne
w romance.
Directo
rs Jean-Marie
Straub and
Danièle H
uillet,
who pr
eviously colla
borated on
two other
films ab
out music (T
he Chronicle
of Anna
Magdale
na Bach, 19
68, an
d Moses a
nd Aaron,
1975), re
ly on long fi
xed shots in au
stere black-an
d-white so
that the foc
us remai
ns on the music
al bril
liance of S
chönberg
’s atonal scor
e, performed
here by 70
musicians
. That Schö
nberg would
choose suc
h a relativel
y light
hearted messag
e for his
newly dis
covered
musical
language
remains a
mystery, es
pecially sinc
e the concl
usion reached
by the husb
and and
wife—to stick
with the tried
and true—see
ms directly a
t odds w
ith Schönberg
’s own philosop
hy of co
mposing. It
is just th
is juxtap
osition, ho
wever, coupled
with Strau
b and Huille
t’s faithful
presenta
tion, that m
akes the op
era a co
mpelling
additio
n to th
e Schönb
erg canon—
and the
film such a
challengin
g and intriguin
g experience.　　
Based on an
unknown Sch
önberg opera fr
om 1929,
From Tod
ay Until Tomo
rrow exp
lores one
night in a
n