Bar 51

Bar 51 (Hebrew: בר 51) is an Israeli independent underground dramatic art film directed by Amos Guttman and cowritten with and . Plot The film deals with Thomas's incestuous love for his sister, Mariana: After they arrive together in Tel Aviv-Yafo, after escaping from Migdal HaEmek due to the death of their Christian mother, Ewa, and setting up housekeeping in the sleazy side of town, Thomas makes his money as "kept man" for two different women who are nightclub entertainers at a bar filled with homosexual, deformed, and inebriated workers, Luna and Zara a.k.a. Sarah Azulay. He first attempts to work at a hotel yet is fired upon being caught stealing supplies for Mariana and has to resort to a dirty shelter. At the same time, he attracts the attentions of an amorous transvestite prostitute and stripper (“Ada Valerie-Tal” i.e. Sergiu Valerie) calling himself "Apolonia Goldstein" (a character based on Gila Goldstein who performed in a real-life bar called Bar 51) who allows the siblings to live at his apartment. His unnatural love for his sister goes unexpressed, however, his jealousy cannot be controlled. If his sister wants to lead any sort of a normal life, it will be up to her to break her dependence on her brother and move on. The film, developed at and distributed by , stars inter alia Alon Abutbul, Mosko Alkalai, , and David Wilson and features music by and (in addition to a song performed by and written by and ), cinematography by , editing by Tova Ascher, and production by Enrique Rottenberg and . The film ends with Thomas violently raping Mariana, following by her killing him. Cast Juliano Mer-Khamis as Thomas as Mariana as Ewa Belinka Metzner as Luna as Zara Alon Abutbul as Aranjuez Mosko Alkalai as Karl David Wilson as Aaron Reception Journalist favorably compared this film to the works of Rainer Werner Fassbinder and Martin Scorsese, journalist blasted the film for its lack of "style" though he nonetheless called it one of the great Israeli films of the 1980s, while journalist Daniel Warth also noted the similarities to Fassbinder and Pier Paolo Pasolini, yet claimed that these remained on the surface only, as this film lacked a "message". Nevertheless, more recently, it came out as the 30th best Israeli film out of 40 listed in a poll of critics conducted by Maariv, and also received two votes (Marat Parkhomovsky and ) in a similar 2018 survey of critics.