从今天到明天 Based on an unknown Schnberg opera from 1929,塞跳d开最大挡上课不能掉 From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man,从今天到明天 while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danile Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Schnberg’s atonal score, performed here by 70 musicians. That Schnberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Schnberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Schnberg canon—and the film such a challenging and intriguing experience.“不是说了,这个时候不要来打扰我吗?——告诉马周,让他一会儿再来。”“为什么要跪下?洛伊婉,你害死了我姐!每年她的忌日,你都要下跪忏悔,而我,要拍照发朋友圈!”突然,老者猛地推开中年夫妇,双手使劲地拍打自己的脑袋,脑门上的青筋变得异常粗大好像随时都要爆炸。“好,下面我们来欣赏一下第二小组表演的《守候》!”穆琳琳说完就把舞台留给了她们。
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