Quelle horreur! It takes a lot to make the rigidly set-in-its-ways Cannes Film Festival switch things up a bit, but the European elections on Sunday, May 25 have necessitated some shifting in the usual schedule. The Competition awards, usually presented on the last night of the fest, will now be handed out the night before, on Saturday; the final Competition film will also screen a day earlier, on Friday. Those of us to stay on until the bitter end will now have the whole weekend to catch up with any major titles we missed, while a screening of the Palme d’Or winner will close the festival. Is that in place of the usually lousy Closing Film? [Screen Daily]

London Film Festival head Clare Stewart announces her intention to cement the fest’s place in the awards calendar. [Variety]

“Frozen” tunes up its awards campaign and rounds up its cast for a bit of a cabaret night. [Hollywood Reporter]

The Criticwire collective addresses the matter of critics walking out of movies: When is and isn’t it acceptable? [Indiewire]

Felix van Groeningen breaks down a key scene from foreign Oscar hopeful “The Broken Circle Breakdown.” [New York Times]

Remembering “The Book Thief,” the Oscar contender that (John Williams notwithstanding) never was. John Patterson wonder who (and what) it’s for. [The Guardian]

Jack Egan talks to recent ADG winner Andy Nicholson about the complex, VFX-incorporating process behind the production design of “Gravity.” [Below the Line]

Still on production design, Jim Bissell talks about creating a ruined Europe for “The Monuments Men.” [The Credits]

“Alone Yet Not Alone” is finding some friends, as the film’s soundtrack hits the Billboard charts and is showcased at whatever the MovieGuide Awards are. [Variety]