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Florence Cestac (b. 1949)

Birthplace:
Pont-Audemer, Eure, France

Born:
July 18, 1949

Biography from TheMovieDB

Florence Cestac (born 18 July 1949) is a French cartoonist and former publisher. She is the first woman to have won the prestigious Grand Prix de la ville d'Angoulême, in 2000, and was the only one until Rumiko Takahashi in 2019.  Born in Pont-Audemer, Cestac initially worked as an illustrator. In 1972, she took over the bookstore "Futuropolis" with her husband Étienne Robial, and transformed it into the comics publisher Futuropolis.  She created the humorous detective stories of Harry Mickson for the comics magazines L'Écho des savanes, Charlie Mensuel, Pilote and Ah! Nana. After Futuropolis was bought by Gallimard in 1994, she created the series Les Déblok for Le Journal de Mickey, working with Nathalie Roques.  Her series Cestac pour les grands, aimed at an adult audience, brought her popular success and recognition. One album, Le Démon de midi (1996), was adapted for the stage and as the 2005 film The Demon Stirs.  Source: Article "Florence Cestac" from Wikipedia in English, licensed under CC-BY-SA 3.0.

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Film Performances

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Film Production

Comic Book:
2000  Michèle Bernier - Le Démon de midi

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TV Performances

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About the Movie Section

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Additional data for Film Titles come from The Open Movie Database (OMDb).

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Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

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Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.