James Joyce led an eventful and turbulent life. From the beginning, he was something of an outsider. His childhood was impoverished and chaotic. Nonetheless, his alcoholic father ensured that he was educated at Ireland's elite schools. From an early age, Joyce revealed an impulse to rebel against social conventions. He not only rejected the Catholic religion, but, in his own words, 'declared open war on the Catholic church by all that I write and say and do.' He was a brilliant student - winning numerous scholarships and awards - and he was also sexually precocious, frequenting Dublin's prostitutes while still very young. Then, on June 16th, 1904, he became intimate with a young chambermaid from Galway called Nora Barnacle. That date would become the day on which he set all the action of his great novel, Ulysses. Nora became his lifelong partner, and they spent the rest of their lives outside Ireland. For many years, they lived in miserable conditions, but Joyce was ready to sacrifice himself - and others, when necessary - to further his artistic ambitions. Eventually, he won worldwide literary celebrity, but he continued to live in some chaos, and he was still subject to recurrent eye complaints and other serious illnesses. When the Nazis invaded France, he was concerned for the safety of his grandson Stephen, who was half-Jewish. Eventually, he managed to find sanctuary in Switzerland, but he died just a few weeks after he and his family had arrived there. Since then, his fame has grown, and he is now recognised by a towering figure in world literature, with Ulysses often cited as the most influential work of fiction of the twentieth century. The story of Joyce's life and work is presented by the celebrated Oscar-winning actress, Anjelica Huston. She grew up in the west of Ireland, and has had a close association with Joyce's work for many years. She delivered an acclaimed stage performance of Molly Bloom's famous soliloquy from Ulysses some years ago, and also played the lead female role in the last movie made by her father, the legendary director, John Huston. This was an adaptation of Joyce's most famous short story, The Dead. This is generally reckoned to be one of the finest short stories ever written in the English language. Anjelica has said that, when she first read The Dead, it 'spoke to her soul', and her performance in her father's film is little short of sublime. The Dead is widely regarded as the most successful - and the most authentic - adaptation of Joyce's work. However, it was filmed on a sound stage in downtown Los Angeles. Anjelica brings a passionate understanding of the humanity, the courage and the consummate artistry of Joyce's writing. In this documentary, she is joined by other leading writers - such as Man Booker Prize winner Anne Enright, and David Simon, the writer of the groundbreaking TV series The Wire - as she explores Joyce's work, and seeks to explain its universal appeal. Other contributors include Colm Toibin, Dominic West, Ruth Gilligan, Fintan O'Toole, Edna O'Brien, Frank McGuinness, Jeffrey Eugenides and Elmear McBride.

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?