Efrat Dor

**Efrat Dor** (*born 6 January 1983*) is an Israeli actress whose career has spanned more than a decade, marked by a blend of rigorous training and a diverse array of screen roles. Raised in the affluent town of Omer near **Be’er Sheva**, she hails from an Ashkenazi Polish‑Jewish family, with her grandmother’s relatives tragically perishing in the Holocaust. Her parents— a writer and an engineer— nurtured a creative household alongside three brothers, encouraging her early interest in performance. Dor attended Eshel Ha'Nasi high school, where she studied drama, and simultaneously pursued ballet at the Bat‑Dor Beer‑Sheva professional dance school, laying a strong foundation in movement and expression. She refined her craft at the prestigious **Beit Zvi School for the Performing Arts** in Israel before expanding her horizons at the **Lee Strasberg Theatre and Film Institute** in New York, where she immersed herself in method acting techniques that would later define her on‑screen intensity.

Since her professional debut in 2007 with modest television roles, Dor’s trajectory has been marked by both critical and popular acclaim. Her feature‑film debut came with *Phobidilia* (2009), showcased at the Berlin International Film Festival, while her breakout television performance as Shir Ambar in *Asfur* (2010) cemented her status in Israel. A 2012 nomination for Best Actress in a Drama Series recognized her nuanced portrayal of police recruit Alex Yudayov in *Achat Efes*. Internationally, Dor garnered attention as **Magdalena Gross** in Niki Caro’s *The Zookeeper’s Wife* (2017), sharing the screen with Jessica Chastain. She continued to navigate multilingual projects, starring in the French‑English film *Holy Lands* (2018) and delivering a lauded turn as con‑artist Lizzie DeLaurentis in Amazon’s *Sneaky Pete* (2019). Most recently, she joined the Arrowverse as **Eva McCulloch** in *The Flash* (season 6), demonstrating her versatility across genres and solidifying her reputation as a compelling and dynamic talent in contemporary cinema.