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備注：已完結(jié)
類型：劇情片
導(dǎo)演：達(dá)尼埃爾·于伊耶 讓-馬里·斯特勞布
語言：意大利語
年代：未知
簡介：一如他曾把卡夫卡小說幾乎「抽象」化，也把巴哈女士日記拍得如此地貼近音樂而非文字，Straub的這種風(fēng)格，除了執(zhí)拗地延續(xù)像MoulletGarrel這些新浪潮好友的「極簡」手法之外，也算是為自己的「藝術(shù)」捍衛(wèi)的極高體現(xiàn)。看來，我還得回頭去看一下Pedro Costa為「我們時代的電影」系列，為這兩夫妻拍的那一集吧，或許，我才真正能向他們更靠近一些（到底是Costa像他們而找他拍，還是Costa本身確實(shí)受到兩夫妻的影響，而得到真髓，所以找來對他們最有研究的創(chuàng)作者來拍呢？這我們就不得而知了）？
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備注：已完結(jié)
類型：喜劇片
主演：未知
導(dǎo)演：達(dá)尼埃爾·于伊耶 讓-馬里·斯特勞布
語言：其它
年代：未知
簡介：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.
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備注：已完結(jié)
類型：劇情片
導(dǎo)演：達(dá)尼埃爾·于伊耶 讓-馬里·斯特勞布
語言：德語
年代：未知
簡介：改編自卡夫卡未完成的長篇小說《美國》，但其關(guān)注的并非真實(shí)的美國，更像是沒有詳細(xì)年代的關(guān)于美國的寓言?？?羅斯曼由于丑聞而接受其舅舅的邀請搬去美國，然而他無法擺脫歐洲大陸舊式習(xí)慣，更糟的是，歐洲的階級結(jié)構(gòu)無法讓他通過自己的雙手謀生。這一電影版關(guān)注資本主義社會創(chuàng)造的殘酷而變幻莫測的階級關(guān)系。同時忠于原著而未添加影片的結(jié)局。施特勞布夫婦風(fēng)格的一貫操作與卡夫卡氛圍的完美結(jié)合：中景固定機(jī)位，面無表情的演員，人物肢體和語言刻意僵硬，強(qiáng)調(diào)側(cè)面特寫，鏡頭推進(jìn)及平移刻意突兀。由此我們可以尋求到改編卡夫卡作品的帶實(shí)驗(yàn)性的可能。