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An ode to cinema as a sensation. A train thunders through a tunnel, seagulls screech above the water. An empty station, a bleak harbour and two lonely souls in a grey town. He’s an engine driver, she sells tickets for the ferry. He sees her every day in his train and is secretly in love. Is there hope for love in Athens? 　　Beautiful urban tableaux at the start of Forever show that Athens is a dying city, plagued by a lack of love. This is where Costas and Anna live, fixed in their rhythm of loneliness. They even seem to be satisfied with it. Costas is an engineer and Anna sells tickets for the ferry. 　　Margarita Manda wanted to make a film about silence. At a time when cinema is once again searching for the core of its uniqueness, I felt the need to go back to the essence. Back to the train, back to sounds which are music in and of themselves and back to the motionless camera that creates the space to look. Forever does not show images to go along with the story, but allows you to discover the story within the image. 　　The silence and loneliness are not final destinations. And Manda does not leave Costas and Anna in peace. When bad news turns Costas’ life upside down, he decides to fight for his right to live and love. He buys a ticket for the boat from Anna.