SXSW

Within this wealth of stories and styles, SXSW’s program clearly demonstrates that the short film’s potential cannot be exhausted, underestimated or undervalued.

Though “Dancing with the Devil” could benefit from additional episodes, Lovato shines through the darkness of her past.

Above all, this year’s festival celebrated the resilience of the independent filmmakers that triumphed over a season of uncertainty.

"Dear Mr. Brody" is unafraid of the complications and contradictions in Brody’s character. At the same time, however, it has a tendency to relieve him from scrutiny.

Here is a guide to some of the more notable TV entries, as well as a heads-up for which shows will be worth watching when they hit the airwaves this spring.

The best joys in “Recovery” come from the rarities that mark, sometimes punctuate, time’s passage: the interludes, the waiting music and the moments spent figuring out whether Scott is a “brawny sexpot” or “garden gnome.”

Some of the most honest moments occur in interviews Wharton conducted with Petty’s daughter Adria Petty, who was also an executive producer for the documentary.

While predictability is usually the bane of an enticing story, “The Fallout” is sneakily aware of itself, lulling viewers into its steady rhythm then pouncing on them come the close.

“Sound of Violence” is the sort of film that feels like it was conceived over a joint and a bag of cheese puffs at 2 a.m. 

Though it adopts several conventions of Hollywood thrillers, “She Dies Tomorrow” is more of a therapeutic psychodrama.