フランスの大手アニメ映像会社DICと東京ムービー新社（現・トムスエンタテインメント）が共同制作を行ったSFアニメ。日本では1986年に約半数の12話分の映像ソフトをリリース後、同話分を88年にTV放送。後年にNHK衛星第2で放映された全話バージョンとは吹き替えが異なる。西暦31世紀の未来。宇宙神ゼウスの怒りを買ったために異郷のオリンポス宇宙へ投げ出された宇宙船オデッセイ号。神々の戦闘機団トリダンの襲撃や、宇宙の歌姫シレーヌの音楽の誘惑……さまざまな未知の脅威にさらされながらも、船長のユリシーズ以下オデッセイ号の一行は地球への帰還を模索する。なお主題歌はキングレコード（スターチャイルド）が扱ったこともあって、『ゴーバリアン』などのソンググループであるネバーランドの貴智明が歌唱している。

在海边有一只山羊、一个小孩和一个男人。这是 Varda 于1954年拍的一张照片：山羊死了、小孩叫尤里西斯、男人则裸着身体。以这一张固定的影像为基础，电影…

诗人斯蒂芬·代达罗斯生于1904年6月16日，他整日穿梭于大都市中，结识了中年犹太人利奥波德，这人待他如慈父一般。同时，在他最辉煌的时代，一场突如其来的葬礼以及当晚的酗酒和狂欢激起了斯蒂芬对父亲的思念，让他明白他最终的感情归属，他也最终原谅了不忠贞的妻子并与之同归于好。

诗人斯蒂芬·代达罗斯生于1904年6月16日，他整日穿梭于大都市中，结识了中年犹太人利奥波德，这人待他如慈父一般。同时，在他最辉煌的时代，一场突如其来的葬礼以及当晚的酗酒和狂欢激起了斯蒂芬对父亲的思念，让他明白他最终的感情归属，他也最终原谅了不忠贞的妻子并与之同归于好。

《霸王艳后》是露珊娜波狄斯坦演的另一部改编自荷马史诗（Odyssey）的视频。施云娜曼简诺一人饰两角，尤利西斯（Ulysses）的妻子（Penelope）和女巫（Circe）。

James Joyce created his monumental work on the basis of Homer's epic. The Belarusian director decided to “scrape” words from the writer's text and “write” his own modern odyssey through it. In his film-palimpsest, he not only refers to the famous modernist novel by the Irish writer, but uses the opening scene to bring into play the no-less-famous attempt at a film adaptation from 1967. Only Dublin has replaced Minsk, and instead of a Jewish busybody, Ruslyk, the personal director of President Lukashenko, or Alkashenko as he calls him at certain moments, wanders the labyrinth of the city all day long. On his convoluted postmodern pilgrimage, he meets doctors, politicians, propagandists, artists, drunkards and outcasts. He conducts blasphemous dialogues with them about the rotten nature of the ruling regime, vents creative and personal frustrations, or just tries to borrow a cell phone to call home to his wife. The cinematic colossus that unfolds over nine hours fascinates with the omnipresence of intense moments, ordered one after the other with a wild rhythmic cadence.

A Japanese parody of The Odyssey that explores the concept of “home”, by Madrid-based Japanese director Hikaru Uwagawa. 　　The film is a parody of Homer’s Odyssey in the style written by James Joyce in his novel Ulysses. Several Ulysses travel in search of their imaginary home (Ithaca), a place that no longer exists. Episode 3 (Hades) follows Kazuko (read Tiresias), a woman living in Okayama, who has lost her husband and is preparing for her first Obon, the yearly Japanese festivity when the spirits of ancestors return to this world to visit their family members. At the same time and in the same city, Ulysses meets Kazuko and, during the Obon, his dead father (read Anticlea).

A Japanese parody of The Odyssey that explores the concept of “home”, by Madrid-based Japanese director Hikaru Uwagawa. 　　The film is a parody of Homer’s Odyssey in the style written by James Joyce in his novel Ulysses. Several Ulysses travel in search of their imaginary home (Ithaca), a place that no longer exists. Episode 3 (Hades) follows Kazuko (read Tiresias), a woman living in Okayama, who has lost her husband and is preparing for her first Obon, the yearly Japanese festivity when the spirits of ancestors return to this world to visit their family members. At the same time and in the same city, Ulysses meets Kazuko and, during the Obon, his dead father (read Anticlea).

James Joyce created his monumental work on the basis of Homer's epic. The Belarusian director decided to “scrape” words from the writer's text and “write” his own modern odyssey through it. In his film-palimpsest, he not only refers to the famous modernist novel by the Irish writer, but uses the opening scene to bring into play the no-less-famous attempt at a film adaptation from 1967. Only Dublin has replaced Minsk, and instead of a Jewish busybody, Ruslyk, the personal director of President Lukashenko, or Alkashenko as he calls him at certain moments, wanders the labyrinth of the city all day long. On his convoluted postmodern pilgrimage, he meets doctors, politicians, propagandists, artists, drunkards and outcasts. He conducts blasphemous dialogues with them about the rotten nature of the ruling regime, vents creative and personal frustrations, or just tries to borrow a cell phone to call home to his wife. The cinematic colossus that unfolds over nine hours fascinates with the omnipresence of intense moments, ordered one after the other with a wild rhythmic cadence.

An actor prepares, removing his shirt to iron it. All shirts stay off. In a mix of black and white, color, and old film clips, a homoerotic odyssey begins. Troy is sacked, and Odysseus starts his languorous journey back to Penelope and Telemachos, who wait in Ithaca. Odysseus dreams: young well-muscled men roll on sheets, hands remove flowers to disclose a sculpted torso. The ship tosses Odysseus; gobs sleep in hammocks; a storm beats down and a life boat seeks a strand. Circe, disguised as Penelope, seduces Odysseus; he stays with her for seven years. In Ithaca, Penelope and her suitors are impatient. Will Odysseus arrive before the film crew breaks for lunch?