Two people, alone in a desolate city. Costas and Anna in Athens.
Costas is an engine driver. The trains he drives travel from one end of the city to the other, following the traces of the ancient rivers that were paved over and made into roads.
Anna sells ferry boat tickets at Piraeus, the city’s main harbour, the place where the rivers once flowed into the sea.
Costas knows Anna. He sees her every morning, waiting on the platform for his train to take her from Thiseion to Piraeus; and he sees her every afternoon, when his train takes her from Piraeus back to Thiseion.
Anna doesn’t know Costas. From the window of the train car she looks out at the same desolate city every day, without knowing who’s driving the train.
Every day, Costas and Anna do the same thing, in the same way, at the same pace. They go to work, they finish their work, they go home, and they have dinner in front of the TV.
When something happens to turn Costas’s life upside down, he decides to reach out from inside his solitude and talk to Anna.
At first hesitantly but then more tenaciously, Costas will fight for his right to live and love.
At first guardedly but then more decisively, Anna will shed her loneliness and surrender to her need for ever-lasting love.
These two people will meet in the desolate city of Athens, on the dawn of a bright new day.


What is it that I wanted to do with Forever?
I wanted to make an elegy on Silence; on Time which is defined by Silence. And I wanted to do this by going back to cinematic forms that don’t make images out of stories, but rather seek out the stories that exist within the images themselves. ΄
At a time when Cinema is once again searching for the core of its uniqueness as an art which conveys a sense of secrecy and suggestion, and an art which is forever contemplating human existence, I felt the need to go back to the stuff that Cinema is made of.
Back to a motionless camera, firmly attached to a tripod that films people looking at each other and conversing through their silence. People who have been absorbed by the space within which they live, but at the same time have constructed their own time within this space.
Back to the train – the image that marked the birth of Cinema and the first travelling shot.
Back to sounds which are music, in and of themselves; sounds that don’t manipulate the image but are one of its constituent parts.
I wanted to make Forever from a personal need I had to experience Cinema once again mainly as a sensation and less as a spectacle. And in order to pay tribute to five film directors who were and will always remain my spiritual teachers: Carl Theodor Drayer, Robert Bresson, Michelangelo Antonioni, Wim Wenders and Theo Angelopoulos.


She was born in Athens. She studied Political Science and French Literature at the Kapodistrian University of Athens, and is also a graduate in Film Direction from the Stavrakos Film School in Athens. She has worked as AD for many Greek filmmakers.
She was Assistant Director to Theo Angelopoulos on the films: Ulysses’ Gaze, Eternity and a Day, The Weeping Meadow, The Dust of Time.
She has written and directed feature and short fiction films, medium- and feature-length documentaries, videos for stage productions, and corporate videos. ΄
She collaborated with renowned photographer Josef Koudelka and wrote for his book Periplanissis: Following Ulysses’ Gaze (Thessaloniki International Film Festival, 1995), as well as for the exhibition Periplus: 12 Magnum Photographers in Contemporary Greece (Benaki Museum, June 2004).
In 2004, she worked for the Video Department of the opening and closing ceremonies of the Athens Olympic Games, filming scenes of the city preparing for the Olympics. These were shown at the OAKA Stadium during the opening and closing ceremonies.
She edited and wrote the appendices for the published screenplays of Theo Angelopoulos’s films Ulysses’ Gaze (Kastaniotis Publications, 1995) and Trilogy: The Weeping Meadow (Electra Publications, 2004)
Her novel, Mnimi akatikiti (Uninhabited Memory), was published by Metaichmio Publications in October 2002. In 2013, Metaichmio also published her personal journal, To proto pragma pou ’kane o Theos itan to taxidi… (The First Thing God Made Was the Journey…), chronicling the shooting of Theo Angelopoulos’s Ulysses’ Gaze.




AnnaAnna Mascha
KostasKostas Filippoglou


DirectorMargarita Manda
ScreenplayMargarita Manda
Director of PhotographyKostis Ghikas, GSC
EditorAngela Despotidou
SoundNikos Papadimitriou
Sound Editing & Sound DesignAliki Panagi
Sound MixingKostas Varybopiotis
CostumesTriada Papadaki
Art DirectionMargarita Manda
Line ProductionAgnes Sklavou
Production ManagerDimitris Hatzivogiatzis
Executive ProducerChristos V. Konstantakopoulos
ProducersKostas Kefalas, Konstantinos Kontovrakis, Costas Lambropoulos, Margarita Manda
Production CompanyFaliro House Productions
Co-ProductionCL Productions