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　　西蒙（喬瑟夫·哈德 Josef Hader 飾）是一名私家偵探，人到中年，卻發(fā)現自己的人生之路越走越窄，內心始終覺(jué)得有著(zhù)隱隱的不安。為了撫平心中的焦慮，西蒙決定回到自己的故鄉，在那里，留存著(zhù)他美好的童年回憶，西蒙忽然發(fā)現，自己已經(jīng)很久很久沒(méi)有回去看過(guò)了。
　　踏上了故鄉的土地的一瞬間，西蒙就感受到了心靈的放松，然而，剛開(kāi)始的新鮮勁過(guò)去后，西蒙開(kāi)始漸漸回憶起一些發(fā)生在這里的，他一直試圖淡忘的回憶。阿施布萊納（托比亞斯·莫雷蒂 Tobias Moretti 飾）是西蒙童年時(shí)代的好友，讓西蒙沒(méi)有想到的是，在他拜訪(fǎng)自己的第二天，阿施布萊納竟然自殺了。

　　Based on an unknown Sch?nberg opera from 1929, 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, 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 Danièle 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 Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg 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 Sch?nberg’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 Sch?nberg canon—and the film such a challenging and intriguing experience.