One could interpret Now & Forever in many different ways and that is the power of the film. It is a film of sadness and loneliness presented through the actualities of one man's life.
While this story could have been conclusive in its resolve through presenting a very simplistic story of love; it is not. The film begins with a strange sense of void and loneliness, moving into moments of real desire and happiness; finally the darkness resurfaces as the film ends. While the film is shot in luminous color (a motif of green stands throughout) there is a dominant dark presence, a sense of unease surrounding the films 'pure' aesthetic intentions.
One could suggest that the narrative of the film is highly objective and open to interpretation. Furthermore at its core it is a fairly basic story. However, the language of cinema employed to weave such a tale could be deemed rather complex (e.g.: extreme close ups, long takes (one lasts 13minutes), Diegetic sound, symmetrical framing). One could add that it is this combination of basic story premise and complex film elements that add to the overall sense of minimalism, and even realism.
Now & Forever has a simple plot, a young man leaves an apartment, whether it is his or not is unknown. He meets his girlfriend (who remains unseen and unheard for the duration) beside a canal/riverbank. He explains his situation and his underlining deep care and love for her. He says goodbye and he walks off alone.
One could interpret that it is the film's purpose to show you this man. He is expressing feelings that others express everyday. He is explaining why he feels the way that he feels; he is exploring his emotions. The viewer is sat right next to this man (in a close-up) and is made sit through his conversation. It could be said that through this process, one can relate to him and what he says, form opinions about him and his relationship. According to the man, this girl is "not full of filth and depression, but she is a very happy person".
The viewer never sees the girl nor does the viewer even hear her talk or interact with the protagonist, the audience may be convinced that she is sitting there, staring back at him, loving him. Or not. She might not even exist.
This film, shot in luminous color with its overall 'brightness' may well be presenting a tale of a man in love. Or is it a tale of a mentally-ill man who cannot find time to talk to his goldfish because he has a date with himself on a canal bench. There is always a darkness.
This could may well be a story of a man that is so detached from himself, due to personal worries; that he must in return analyze himself until he reaches some semblance of closure. Something which he may have found in the end but the viewer never does.