从今;天到明天

Based on an `un:kn$own Schön%b
erg ,@ op.era+ f^-rom _1929, From Today Until Tomorrow exp _lores on
+e ni+)(ght`+ in$# a not-q_]%-uite lovel# `$ ess marriage.  A husband)](  )and wife return from a party where- she has flirted:%: with another man, while `h%]e has c%ast an _? appra? isi -ng` e?`.?ye towa/rd an att+ra*cti,*ve, fashionably dressed acqu%$a=int@ance ? of- his wif!$e’
s. Though e
a !=ch ^]dreams, b-%,r\iefly,,,\ of leaving the m\=.%a\+rriage for% [\$the ex @c@itement (and myster_,y of ;/( a ,new l @-over, i?+ n !the end they d#%ecide() s\tabilit[;y-: a
nd^.^ co=mfort are more i =-mportan@,;/@t than \the f]*leeting thrill[ of ne]%)?w romance. Di:r;ectors:= J(e`an-Marie Straub \and ,;Da# [?nièle Hui
:?llet, who p
*
^re? viously collaborated[! on )!two$ other films about music (The .C$=hronicle (of ?=+]Anna Magdalena Bach, `,1968, and Mo;)ses an+d Aaron, 1975), rely on lon\g fixe?d shots in* a)ustere b$lack;[,-and-wh $,it]]e so that the focus= remai@ns on the mu ^sical brilli(@)ance)* of# Schö,nberg’s atona/ @*l sc )[)ore, per[f,ormed h/ere % by 70 mus#%_ician $:_s. That @Schönberg wo@ul;
d choose such a ,^relati :^!vel
-y l
^^i+],ghthearted message )\for h#i]s/@! newly .^_di./\scov +;ered musica^l la.+=,ngua@([ ge remains^ a myste=*.ry, ( especia-lly si-nce the co%,$n^clusion reached by t(%he h@ usband% and wife—to stick with the % tried and; tr
* ue—seem %!@s .%directly at odds wit_-h Sch önber\]g’!#s own philosophy., o?f - composing. It i)\: s% *just =-]t
_\his j(`:uxtaposition, $howev!er,
(c]-oup-)led with $Straub`/ and H[uillet’s faithful presentati= *on, th\;at makes the op ?era a (compe@
;)l[=ling addition^ to the Schönbe /rg canon—-and the film such /]a challenging and ).i@[!! ntriguing e?x):p+#
eri 
ence.