The 2015 Cannes Film Festival roster was announced in Paris this morning, and it is what it is. No surprises — all previously spitballed. I’ve been feeling a wee bit glum about what seems to me like an underserving of crackling dimensionality and serious marquee pizazz but let’s try to be optimistic. Among all of the announced (including out of competition or OOC), I feel instinctually drawn to or moderately cranked about the following, in this order: Todd Haynes‘ Carol (yes!), Woody Allen‘s Irrational Man (OOC), George Miller‘s Mad Max: Fury Road (OOC), Denis Villeneuve‘s Sicario (sorry but I’ll always be wary of Villeneuve), Paolo Sorrentino‘s Youth, Jacques Audiard‘s Erran, Justin Kurzel‘s Macbeth (Shakespeare for ADD generation?), Joachim Trier‘s Louder Than Bombs, Gus Van Sant‘s The Sea of Trees, Barbet Schroeder‘s Amnesia and Hou Hsiao-hsien‘s The Assassin (special Asian martial-arts suffering potential).

The remainder: Matteo Garrone‘s The Tale of Tales, Yorgos Lanthimos‘ The Lobster (hands down one of the worst titles of any film ever), Pete Docter and Ronaldo Del Carmen‘s Inside Out (OOC), Mark Osborne‘s The Little Prince (OOC — except for Sidney Lumet‘s Prince of the City, movies with the word “prince” have tended to be a problem in my life), Emmanuelle Bercot‘s La Tete haute, Valerie Donzelli‘s Marguerite and Julien, Maiwenn‘s Mon roi, Jia Zhangke‘s Mountains May Depart, Nanni Moretti‘s My Mother, Hirokazu Kore-eda‘s Our Little Sister and Stephane Brize‘s A Simple Man.

I don’t have any particular gut feelings or excitements one way or another about the Un Certain Regard selections — they will come to me in their own way, or they won’t.

I’m going back to bed now…later.