Yes, it is possible to use only a window burn and use your EDL to conform your film negative. As with all things, you should consult with the neg cutter you plan to use to see what they are going to require from you, different cutters prefer different EDL formats.
Normally, the lab can guide you through the process. I am familiar with one project where the lab punched a dead-head sync mark at the beginning of the footage, which was used as a refence point to calculate frames and timecode. The project was then edited with Premiere and matched back to a negative. There were some errors in the first trial answer print because of 3/2 pulldown, but they were easily corrected with notation for the neg cutter.
What about compositing, titling and opticals? They are very expensive and usually handled by an optical houses who specialize in only that. Back in the day, they would do tricks with the film printer to get some optical effects (ever see a spinning newspaper headline in 40's and 50's black and white films? e.g. Citizen Kane) but they've gotten lazy and do it all by computer now.
Your average film lab will generally handle fade to black, dissolves of fixed lengths (16 frame, 24 frame, etc.) and wipes. As soon as you start moving to superimpositions, picture-in-picture and any of the other myriad of built-in effects that Premiere offers, the price starts skyrocketing because you have to outsource to another lab. If you plan on finishing on film, just don't do any effects (aside from in camera) outside of simple transitions like wipes, dissolves and fades.
Titling is an issue, your lab could probably handle a simple scroll, you'll have to ask. You can't do it on Premiere and expect to use it in your film without laying down some serious cash. Transfer from video to film was $2.50 a frame, last time I checked. That's $60 a second.
The lab will handle the whole resolving of audio issue. Some high end NLEs will do it but you're far better off just handing your sound over to the lab tech and having them resolve and mate your sound track to picture. Again, contact the lab ahead of time and ask them what they need from you to make their job easier. Get to know the names of the people who will be working on your film. They will appreciate it. If they don't, switch labs.