Bas□d on an unknow□ □chönberg o□era fr□□ □929□ From □oday Un□il T□morrow explo□es one night in a n□t-□uit□□loveless marriag□. A□husba□□□a□d wife return from a pa□ty □h□re she has fli□ted wi□h another man, while he has c□st an app□ai□□ng □y□□towar□ a□ attra□tive, fashionably dress□d a□quai□tance of hi□ wife’s.□Though each dreams□ b□ie□ly, of leav□ng the marriage f□□□□h□ e□ci□□men□ □nd mys□ery of a new □ov□□□ in □he □nd they dec□de stabili□y and □omfort are□more □mporta□t tha□ □he fl□eting thrill of n□w □□mance. Directors Jean-Marie St□au□□a□d Danièle H□ille□, □ho pre□iously co□labor□ted on two□oth□r films ab□ut □usic□(The Chronicle of □□n□ Magdale□a Bach□ 1968, and M□ses an□ □ar□□,□1975), re□y on long □ixed shots □n a□ster□ b□ack-an□-whit□ so tha□ the focus□□e□□ins on th□ mus□c□l brilliance of Schö□berg□s □to□al s□ore□ □erforme□ here□□y 70 m□sicians. That Sch□□berg would c□oose suc□□□ □elativel□ lighthearted me□sage for□his newl□ d□□covered mu□ical□la□□ua□e r□m□ins□a mystery, especiall□ since the□c□nclusion r□ached by the husband and w□fe—to stick □it□ the tri□d and tr□e—seems □irectly at odds wi□□ S□hönberg’s □wn phil□s□phy□of composing.□It□□□ just this □uxtap□sition, howeve□, coupled with Str□ub and □u□lle□’s□faith□□l presentation,□th□t make□ □he□o□er□ a comp□l□ing addition □o the S□hönberg c□non□□nd□the film such a c□allenging □n□ int□i□u□n□ exp□ri□nce□