"Mankind had to inflict horrible things on itself before the self, the identical, purposive, male character of man was formed, and something of that still recurs in every childhood." (Adorno/Horkheimer in the "Odyssey" chapter of "Dialectic of Enlightenment"/"Dialektik der Aufklärung") Even in its day and age Homer’s "Odyssey" was testimony to a deep societal crisis and an attempt to overcome the same by violently restoring the "good old days". In "ODYSSEY: Dead Men Die" this propaganda is mercilessly put on trial. A dysfunctional family clashes during a screening of the newest Odyssey-blockbuster: the frustrated cinema landlady, her angry son and the no longer relevant Odysseus-actor, who abandoned his family years ago. They all genuinely yearn for a better world, suffer from the social conditions and seek their salvation in seemingly overcoming these; until the servants, blinded by rage, begin to revolt… "ODYSSEY: Dead Men Die" is a spectacular music theater farce, a cinematic stop-and-go cruise, an apocalyptic musical and theatrical firework of styles, a jarring requiem for the patriarchal order, in which the greatest tragedy of our era - that all resistance preserves that which it is directed against - is only bearable as grotesque.