100年前的1922年2月2日，詹姆斯·乔伊斯历时7年完成的长篇小说《尤利西斯》几经周折之后，在当时还名不见经传的巴黎莎士比亚书店出版了单行本。7年间乔伊斯颠沛流离，家境困难，而终于问世的这部著作，对之后100年间的文学和文化都产生深远影响，可以说，没有任何一部20世纪的小说能与《尤利西斯》的影响力相媲美。 　　尽管乔伊斯的史诗被誉为意识流小说的代表作，是现代主义的杰作和文学表达的革命，直接激励了建筑大师艾琳·格雷、电影导演谢尔盖·爱森斯坦、摄影与雕塑大师曼·雷、音乐创作者鲍勃·迪伦等不同领域的创作者的灵感，然而这本书最初却在美国和英国被禁，并长期在爱尔兰受到抵制。乔伊斯被指向爱尔兰天主教会开战，背弃了自己祖国的人民，无视爱尔兰为独立而进行的长期斗争——就在1922年《尤利西斯》出版前仅几周，这一运动随着爱尔兰自由邦的建立而达到高潮。 　　然而今天，乔伊斯和《尤利西斯》正在爱尔兰及世界范围内被重新考量。新的学术研究指出，乔伊斯的对天主教会和民族主义战争的态度，可能恰恰源于他对爱尔兰人民和文化深情和深刻的承诺。《尤利西斯》更像是一个预言性文本，为爱尔兰，也为欧洲和其他国家想象了一个更好的未来。为纪念该书出版100周年而摄制的纪录片《百年尤利西斯》由历史学家弗兰克·卡拉南（Frank Callanan）策划、鲁恩·麦根（Ruán Magan）导演，以著名作家与学者的丰富访谈、极具启发性的档案影像、以及如诗的情境，将观众重新带入当代的奥德修斯之旅与尤利西斯的凝视中。

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?