Based $\%on a,_n= unknown S^+@chö=:\nberg opera f?rom +`$1
92%=9, [%From Today Until To:#morrow explo?.@-r?][@es o ,-ne ni g]#h.t in a not*?=-quite+\; loveles$\@ s) mar(%riage. A
 @husban_d and # +wife return from a party where !(sh e has fl[ i-rted?) wi: th,%] another man, while .(.he ha s  cast an appra+isi.+ng eye toward an attractive,( fas\#hionably ^;dre`sse,./d ]acquaintanc`_e of @his w_*i=\f.
=e’s. Tho
?_u ,gh ;each d ]re,#a=[ ms, briefly, of) leaving the marriage for th e excitement and  myste
ry of a new (
love._r, in (t
[`h/e end they dec)(ide stabil.`ity and comfort are /;?.more important than $;the fle,?]et%ing t+hrill_% of new romance. Directors Je@an-Ma(?rie` Str,aub and Danièle Huillet, who/@? (pre)viously collaborat/[: ed on! two o th[ er ((fi lms ab
:out mu@_s`-i\c $=(;(T ?he@ Chronicle of )$?A ][nna-` M agdalena%\ Bach, 19 68, and Mos+es and Aaron,  -\1975), ) \)rely.@) on long fixed shots@ in (\aust`*er@(e 
^blac; k-an)d-white .so that the (@focus rema=)in=,s on ?the musical b$rilli*a:#nce of=* Schönberg’s \atonal sco$ re,#:) pe!@@rformed here by 70 musicians].. That Schönberg *^would ch?`o^ose such a relati+vely lighthearted mess age for h-!is[` newly dis`co^+ve:red mus ical language remains a m:;y/stery, es+( p[-
eci(*+al_)ly sinc^e the concl* $usion reached b
 y the` husband and wife—-to s/tick wi$ th th-e ^t:ri %ed -#and tr$
ue—se`(ems direct\
?(ly at odds with Schönberg’s o.w#n philosop_[(;hy o*f comp$osing. It@` is just th*i*.s j#/-uxta`po)^-s?ition, how[:eve,^)r, coupled with Straub and Huillet’%s] fai)=th-/,ful presenta@=tio ( n, that makes* the opera a compelling addit\ion to t\@he Schönb_erg can,[o\( n—and the film su
!(ch, a ch^allenging and in)trig,_:uing experience.