B□sed on an u□know□ Schönberg□opera f□om 1929, From Today U□til To□orrow explores one □□gh□ in□a not-q□ite□lovel□ss□mar□iage. A husband and□□i□e□retur□ fro□ a party□where sh□ □as flirted wit□ anothe□ m□n, while□h□ has □ast□□n □ppra□□in□ eye□towar□ an attractive, fashionab□y dre□sed □cqua□n□ance of his wif□□s.□Th□□gh eac□□dre□ms, briefly, of leaving □he marria□e for□□he □xciteme□t□an□ mystery of□a ne□□lo□er, □n the en□ they de□ide□s□ability□and comfo□t are more impor□ant□than the f□ee□in□ t□rill □f □ew roma□ce. □ir□ctors Jean□Marie Stra□□□an□ D□nièle Huillet, who□pr□□io□sly col□aborated on two ot□er f□lms□a□□□t music □□□e□Chron□cle of A□na Magda□ena□Bach,□1968,□and Moses□and A□ron□ 1□7□), re□y on l□ng fixed□shots in austere black-and-□h□□e so that □he □oc□□ r□mains□on th□ musical brillian□□ of Sc□önberg□s □□onal score, per□orme□ here by 7□ musicians. T□a□ S□□önberg would cho□□□ such □□relativ□□y lighthearted messag□ for his□newly□di□covere□ musical □anguage r□mains □ myst□ry, especially since the conclusio□□reac□ed b□ t□e husb□nd a□d wife—to□sti□k w□t□ the t□ied and t□ue—□eems d□rectly □t odd□ □ith Schönberg’s own philosophy□o□ co□pos□□g□ It i□ □ust□this □uxta□osition□ however, coupled wi□h Straub □nd□Huillet’s □aith□ul presen□at□o□,□th□t makes t□e opera □ □ompelli□g addition □o the S□hönberg canon□and the film su□h □ chall□nging □nd□intriguing experien□e.- 男(□)二□🧑)凌赫经常和公主吵架,动□(🐧)动就带着阴阳.□.