In terms of definite default must-sees, the Cannes Film Festival has suddenly turned into a one-movie-per-day event. On Monday, 5.18 (or technically today as it’s now 1:20 am) the essential is Pete Docter‘s Inside Out, screening at 11 am with a 9 pm party. Tuesday, 5.19 is the big day for Denis Villeneuve‘s Sicario, also hosting an evening party. The biggie on Wednesday, 5.20 is Paolo Sorrentino‘s Youth, but I’ll also need to see Brad Bird‘s Tomorrowland as it opens commercially in France that day. The hottie on Thursday, 5.21 is Gaspar Noe‘s Love with Valley of Love, the Guillame Nicoloux film, running a close second. Mark Osborne‘s The Little Prince is the centerpiece film on Friday, 5.22, but I’ve already mentioned my reluctance to come within 100 yards, much less sit down with it. I’ll catch others besides these, of course, but after four intense days (Thursday, 5.14 to Sunday, 5.15) the festival is in downshift mode.

Carol screenwriter Phyllis Nagy has earned a placemark as a strong if not likely candidate for a Best Adapted Screenplay Oscar. The film doesn’t open until December and that’s a long way off, but if spareness and subtlety mean anything…just saying. Nagy (rhymes with “Taj” as in Taj Mahal) is bright, exacting and clear of focus. She also has superb taste in evening wear, as the exquisite non-lapelled, specially-designed suit she was wearing at the Carol after-party proved.