"’80s Week Extravaganza"</a>). His job regularly sees him traveling to Cannes, Sundance, Telluride, Toronto, and Venice, among other major Festivals. His job way more regularly sees him sitting at home and watching abject garbage so that you don’t have to. His favorite movies are mostly about impossible romances and/or bears in crisis. </p> <p>Prior to working at IndieWire, David was a Staff Writer at Rolling Stone, the Associate Film Editor at Time Out New York, the Film Editor at Film.com, and an Editor-at-Large for Little White Lies. His writing has been featured in Vanity Fair, The Guardian, Slate, and Reverse Shot among several other outlets, and he has served on juries and nominating committees for the Gothams, SXSW, and the Montclair Film Festival. </p> <p>He is a member of the New York Film Critics Circle and the National Film Critics Society, and received the 2022 National Arts and Entertainment Journalism Award for Best Film Critic. He holds a bachelor’s degree in film studies from Columbia University, and later dropped out of Columbia’s MFA Directing program after realizing that watching movies is a lot easier than making them. Through partnerships with Garrett Bradley, Jane Campion, and Charlotte Wells, his <a href=https://www.indiewire.com/author/david-ehrlich/page/2/"https://www.videocountdowns.com">"annual video essays counting down the 25 best films of the year"</a> have raised more than $100,000 for various charities. </p>" /> "’80s Week Extravaganza"</a>). His job regularly sees him traveling to Cannes, Sundance, Telluride, Toronto, and Venice, among other major Festivals. His job way more regularly sees him sitting at home and watching abject garbage so that you don’t have to. His favorite movies are mostly about impossible romances and/or bears in crisis. </p> <p>Prior to working at IndieWire, David was a Staff Writer at Rolling Stone, the Associate Film Editor at Time Out New York, the Film Editor at Film.com, and an Editor-at-Large for Little White Lies. His writing has been featured in Vanity Fair, The Guardian, Slate, and Reverse Shot among several other outlets, and he has served on juries and nominating committees for the Gothams, SXSW, and the Montclair Film Festival. </p> <p>He is a member of the New York Film Critics Circle and the National Film Critics Society, and received the 2022 National Arts and Entertainment Journalism Award for Best Film Critic. He holds a bachelor’s degree in film studies from Columbia University, and later dropped out of Columbia’s MFA Directing program after realizing that watching movies is a lot easier than making them. Through partnerships with Garrett Bradley, Jane Campion, and Charlotte Wells, his <a href=https://www.indiewire.com/author/david-ehrlich/page/2/"https://www.videocountdowns.com">"annual video essays counting down the 25 best films of the year"</a> have raised more than $100,000 for various charities. </p>" />
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Grand Tour Review: Miguel Gomes' Lush and Beguiling Colonial Romance

David Ehrlich is the Reviews Editor and Head Film Critic at IndieWire. Based in Brooklyn, where he lives with his wife, their two young children, and a crushing amount of anxiety that he treats with a steady diet of esoteric ice creams, British reality dating shows, and New York Rangers hockey games (which often have the unfortunate effect of making his anxiety so much worse). He is responsible for overseeing — and writing many of — the site’s movie reviews.

He has been on staff at IndieWire since 2016, and has contributed countless reviews, essays, and interviews over the years, in addition to spearheading several of the site’s larger-scale lists and projects (such as our "’80s Week Extravaganza"). His job regularly sees him traveling to Cannes, Sundance, Telluride, Toronto, and Venice, among other major Festivals. His job way more regularly sees him sitting at home and watching abject garbage so that you don’t have to. His favorite movies are mostly about impossible romances and/or bears in crisis.

Prior to working at IndieWire, David was a Staff Writer at Rolling Stone, the Associate Film Editor at Time Out New York, the Film Editor at Film.com, and an Editor-at-Large for Little White Lies. His writing has been featured in Vanity Fair, The Guardian, Slate, and Reverse Shot among several other outlets, and he has served on juries and nominating committees for the Gothams, SXSW, and the Montclair Film Festival.

He is a member of the New York Film Critics Circle and the National Film Critics Society, and received the 2022 National Arts and Entertainment Journalism Award for Best Film Critic. He holds a bachelor’s degree in film studies from Columbia University, and later dropped out of Columbia’s MFA Directing program after realizing that watching movies is a lot easier than making them. Through partnerships with Garrett Bradley, Jane Campion, and Charlotte Wells, his "annual video essays counting down the 25 best films of the year" have raised more than $100,000 for various charities.

Latest by David Ehrlich
Gonçalo Waddington in 'Grand Tour'
Cannes
Cannes: Closer in spirit to an essay film like "Sans Soleil" than to a conventional love story, this lushly abstract travelogue is as gorgeous as it is impenetrable.
Set of a new movie by Paolo Sorrentino.
In the picture Celeste Dalla Porta. and Stefania Sandrelli.
Photo by Gianni Fiorito
This photograph is for editorial use only, the copyright is of the film company and the photographer assigned by the film production company and can only be reproduced by publications in conjunction with the promotion of the film.
The mention of the author-photographer is mandatory: Gianni Fiorito.
Set del nuovo film di Paolo Sorrentino.
Nella foto Celeste Dalla Porta. e Stefania Sandrelli..
Foto di Gianni Fiorito
Questa fotografia è solo per uso editoriale, il  diritto d'autore è della società cinematografica e del fotografo assegnato dalla società di produzione del film  e può essere riprodotto solo da pubblicazioni in concomitanza con la promozione del film. 
E’ obbligatoria la menzione  dell’autore- fotografo: Gianni Fiorito.
Cannes
Cannes: Celeste Dalla Porta stuns in a superficial meditation on the relationship between youth and beauty.
Mikey Madison in Anora
Cannes
Cannes: Mikey Madison gives an all-time performance in a brilliant comedy that starts as a fantasy romp before making a laugh-out-loud funny pivot into "Uncut Gems" territory.
Vincent Cassel and Diane Kruger in The Shrouds
Cannes
Cannes: Vincent Cassel plays a widower who buries his wife in a live-streaming coffin in this subtle but enormously rewarding movie from the master of body horror.
Jeremy Strong and Sebastian Stan in The Apprentice
Cannes
Cannes: Stan makes a convincing young Trump, and Strong manages to find a mote of sympathy for Roy Cohn, but there's nothing here that recent history hasn't already made self-evident.
The Substance
Cannes
Coralie Fargeat’s “Revenge” follow-up is an immensely, unstoppably, ecstatically demented fairy tale about female self-hatred.
The Balconettes
Cannes
The "Portrait of a Lady on Fire" star's confrontational and audacious second feature was co-written by Céline Sciamma.
Zhao Tao in Caught by the Tides
Cannes
Cannes: Building an elliptical love story around 22 years' worth of footage, Jia's latest revisits some of the most pivotal characters and locations from his previous work.
KINDS OF KINDNESS, from left: Margaret Qualley, Jesse Plemons, Willem Dafoe, 2024. © Searchlight Pictures / courtesy Everett Collection
Cannes
Cannes: Jesse Plemons shines in a three-part — and nearly three-hour — movie about love, affection, and the other sick kinks that shape our psychosexual codependency.
Michael Cera in Christmas Eve in Miller's Point
Cannes
Cannes: All vibes and no plot, Tyler Taormina's wry but melancholy ensemble comedy knows why the holidays always hit us right in the heart.
'Megalopolis'
Cannes
Cannes: More than 40 years in the making, Coppola's epic is as personal and egoless as you could ever hope to expect from an $120 million self-portrait that doubles as a fable about the fall of Ancient Rome.
On Becoming a Guinea Fowl
Cannes
Cannes: A young woman is forced to host the funeral of the uncle who molested her in Rungano Nyoni’s lucid and incandescently pissed off follow-up to "I Am Not a Witch."
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