Love and ambition collide when two brilliant architects compete for the same woman and the glory of success in their highly competitive field. Kakeru, a young dreamer just entering the professional world, starts out with the goal of building a magnificent church. The story unfolds when a world-famous architect, whom Kakeru idolizes but has never seen, collapses in front of him on the beach. The skillful portrayal of the intertwined loves and professional trials of these characters makes for a suspenseful and inspiring drama.

Fantasia in Best Show Minor is the first and only ever Best Show on WFMU DVD Release! It features stuff you’re never going to believe, puppets. animation, sketches, travelogues from callers, and guest appearances from Patton Oswalt, Ted Leo, Paul F. Tompkins, Zach Galifinakis, Fucked Up, Tim and Eric, John Hodgeman, Aimee Mann, Scharpling and Wurster, Yo La Tengo, Kurt Vile, Matt Fracton, Todd Barry, and Jason Woliner. The DVD was available exclusively during the 2010 WFMU pledge drive.

Saburo is a high school student good in sports, but not very good with his studies. One day, Saburo travels back in time and arrives in the Sengoku period of 1549. There, Saburo meets Nobunaga Oda who looks and sounds just like Saburo. Nobunaga Oda is the son of a warlord and magistrate of the lower Owari Province. Nobunaga Oda though is physically weak and he asks Saburo to take his place. Then, Saburo as Nobunaga Oda attempts to unify the country of Japan.

Katya (Shelly Michelle -Julia Roberts' body double in Pretty Woman) is the world's most beautiful and talented ballerina. On stage she is a picture of poise and grace. Off stage she hides a burning passion for love which remains hidden until she begins to relate her hidden desires and fantasies to a magazine journalist sent to interview her. Not surprisingly her desire soon turns to reality as she enters a world full of sexual encounters which in turn brings a new energy to her dancing.

Roberto Rossellini's first film is a work of deceptive transparency. In its initial moments the film appears to be a documentary about underwater, even deep-sea, species. But soon after, the 　　narration, in the manner of Cocteau, unleashes a powerful "dual reality" onto the images, imbuing them not only with a narrative logic, but a kind of magic. (Let's be clear, for Rossellini there are basically 　　no precedents; or about those that can at least "be said to" exist this filmmaker would always be willing in turn to rejoinder, and pointedly, that the material influences for any film of merit hail from life 　　itself and the powers of the observer; correspondences between films might exist — but why shouldn't they, since audiences and filmmakers are all, ostensibly, alive.) Magic always resides within reality; maybe 　　it's better to say Rossellini "imbues" less than he unlocks. So I ask, at no-one in particular: Is the difference in method (imbue vs. unlock) why Rossellini (or Vigo, or Renoir) have, insanely, been 　　perpetually categorized as (excruciatingly loaded, extraordinarily wish-fulfilling and villainous phrase) "master realists," as though they were closer in form and temperament to the aggressions of a 　　Chernyshevsky than to the "specific details" of a Nabokov? As though Picasso's famous assertion — "I do not seek — I find" — were, after all, too "oracular" (read as: foolish, mad, cavalier, unsuitable for We 　　2.0) and, therefore, too domineering in service of the cause of the Individual (too self-involved!), rather than that of the marxist-christianic Social Fabric (just communist/grown-up enough!)? It is my belief 　　that whenever imagination and freedom stand as the core precepts of one's aesthetic, no intrusions (invited or repressed) of "political" or "social" "realities," either as plot-element, backdrop, or general 　　milieu, can grant Possession and Control of that work to the envious workaday critics, hack bloggers, or majordomo Ideologians. All great artists know, and from head to toe, that the big picture is the 　　Individual and his interior perceptions of the outside world — and that artistic generation is simply the mimetic representation, mise en abyme, of this graceful essence and its occasionally ancillary residue 　　(i.e., external action). For Rossellini, social realities exist in counterpoint to knowledge and fantasy, and Rossellini's Undersea Fantasy [Fantasia sottomarina, 1938] is an essay upon man's only material 　　reality: his origin, and the circumstances of his end.

Hajnal needs to get out of here. In this surrealist fantasy, they prepare to leave their home country for England.

Roberto Rossellini's first film is a work of deceptive transparency. In its initial moments the film appears to be a documentary about underwater, even deep-sea, species. But soon after, the 　　narration, in the manner of Cocteau, unleashes a powerful "dual reality" onto the images, imbuing them not only with a narrative logic, but a kind of magic. (Let's be clear, for Rossellini there are basically 　　no precedents; or about those that can at least "be said to" exist this filmmaker would always be willing in turn to rejoinder, and pointedly, that the material influences for any film of merit hail from life 　　itself and the powers of the observer; correspondences between films might exist — but why shouldn't they, since audiences and filmmakers are all, ostensibly, alive.) Magic always resides within reality; maybe 　　it's better to say Rossellini "imbues" less than he unlocks. So I ask, at no-one in particular: Is the difference in method (imbue vs. unlock) why Rossellini (or Vigo, or Renoir) have, insanely, been 　　perpetually categorized as (excruciatingly loaded, extraordinarily wish-fulfilling and villainous phrase) "master realists," as though they were closer in form and temperament to the aggressions of a 　　Chernyshevsky than to the "specific details" of a Nabokov? As though Picasso's famous assertion — "I do not seek — I find" — were, after all, too "oracular" (read as: foolish, mad, cavalier, unsuitable for We 　　2.0) and, therefore, too domineering in service of the cause of the Individual (too self-involved!), rather than that of the marxist-christianic Social Fabric (just communist/grown-up enough!)? It is my belief 　　that whenever imagination and freedom stand as the core precepts of one's aesthetic, no intrusions (invited or repressed) of "political" or "social" "realities," either as plot-element, backdrop, or general 　　milieu, can grant Possession and Control of that work to the envious workaday critics, hack bloggers, or majordomo Ideologians. All great artists know, and from head to toe, that the big picture is the 　　Individual and his interior perceptions of the outside world — and that artistic generation is simply the mimetic representation, mise en abyme, of this graceful essence and its occasionally ancillary residue 　　(i.e., external action). For Rossellini, social realities exist in counterpoint to knowledge and fantasy, and Rossellini's Undersea Fantasy [Fantasia sottomarina, 1938] is an essay upon man's only material 　　reality: his origin, and the circumstances of his end.

Hotel Erotica is a Softcore porn anthology television show that is broadcast on the Cinemax cable television channel during its Skinemax late-night block. It is also broadcast in the after hours timeslot on The Movie Network.The show format usually involved the hotel's proprietor reading a letter from a former guest talking about their adventure at the hotel. The episode would then be a flashback of the guest coming to the hotel and falling in love with someone. The hotel proprietor was initially Cloe Wilson in the first season. In the second season it was Jenny. In the next season, the show was relaunched as Hotel Erotica Cabo which followed a similar format.Many notable softcore and hardcore porn stars appeared on the show, such as Beverly Lynne, Monique Parent, Angela Davies, Jenna Jameson, Ron Jeremy, and former WWE Diva Candice Michelle.