从今天到明天

Here’s an expanded version of the text with additional context and details: Based on Arnold Schönberg’s rarely performed one-act opera *Von heute auf morgen* (From Today Until Tomorrow) from 1929, this film adaptation by Jean-Marie Straub and Danièle Huillet delves into a single night of marital tension and existential reflection. The story unfolds as a married couple returns home from a social gathering, each stirred by fleeting attractions—the wife captivated by a charming stranger, the husband tempted by his wife’s stylish friend. Their fantasies of escape into passionate new relationships briefly threaten the stability of their union, but dawn brings a sobering resolution: they choose the familiarity of their shared life over the allure of the unknown. Straub and Huillet, known for their rigorous, minimalist approach to cinema, employ stark black-and-white cinematography and static, extended shots to foreground Schönberg’s groundbreaking atonal score, performed by a 70-piece orchestra. The directors’ austere style strips away theatrical embellishment, forcing the audience to confront the music’s dissonance and emotional complexity. This choice mirrors Schönberg’s own rejection of traditional harmony, yet the opera’s seemingly conventional moral—a defense of marital fidelity—presents a paradox. Why would the radical innovator of twelve-tone composition champion conservatism in love? The film leans into this contradiction, inviting viewers to question whether the couple’s decision is a surrender or a subversive act of endurance. Historically overlooked compared to Schönberg’s more overtly avant-garde works, *From Today Until Tomorrow* gains new resonance through Straub and Huillet’s unadorned interpretation. Their film neither romanticizes nor ridicules the couple’s choice, instead framing it as a quiet rebellion against the chaos of desire. The result is a work that challenges audiences to reconcile Schönberg’s revolutionary sound with the opera’s deceptively simple message, making it an essential but demanding entry in both the composer’s legacy and the filmmakers’ oeuvre.
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