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Sendi Bar is a Actor Israelienne born on 5 april 1976 at Tel Aviv (Israel)
Sendi Bar (sometimes Sandy Bar; Hebrew: סנדי בר; born April 5, 1976) is an Israeli actress and model.
Bar appeared in commercials for "Black and Wild" beer, "Milki" and "Isracart". She modeled for fashion companies "Castro" and "Pilpel". Bar started her acting career in 1996 in the TV drama "Deadly Fortune" (Kesef Katlani), directed by Eran Riklis. It was broadcast on prime time in Channel and was followed by roles in "Zbeng!" and "Zinzana". She resided for several years in Los Angeles with her husband, actor Aki Avni, and their son. They returned to Israel in 2008, and separated.
Source : Wikidata
Sendi Bar
Bar appeared in commercials for "Black and Wild" beer, "Milki" and "Isracart". She modeled for fashion companies "Castro" and "Pilpel". Bar started her acting career in 1996 in the TV drama "Deadly Fortune" (Kesef Katlani), directed by Eran Riklis. It was broadcast on prime time in Channel and was followed by roles in "Zbeng!" and "Zinzana". She resided for several years in Los Angeles with her husband, actor Aki Avni, and their son. They returned to Israel in 2008, and separated.
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Filmography of Sendi Bar (1 films)
Actress
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Kedma (2002)
, 1h40Directed by Amos Gitaï
Origin Israel
Genres Drama, War
Themes Films about religion, Films about Jews and Judaism
Actors Moni Moshonov, Juliano Mer-Khamis, Sendi Bar, Yaël Abecassis
Roles Yardena
Rating60%
The film is a historical tragedy set during the opening stages of Israel's 1948 War of Independence. The film follows the fate of a group of refugees from the Holocaust who are illegally brought to Israel by the Palmach. When they arrive, they are chased by British soldiers. Once they escape, they are immediately drafted into the war, and take part in a grueling battle against Arab irregulars. The film centers on two long monologues, one by an Arab peasant who pledges to oppose the Jews forever; and one by an emotionally demolished refugee who laments the seemingly endless suffering of his people. Gitai intended the film to be a more realistic answer to the romanticized depiction of the war in Otto Preminger's Exodus. The final shot of Kedma is identical to the final shot of Preminger's film.