Palestinian-Israeli filmmaker's tragedy about honor killings wins top prizes at Monte-Carlo

Palestinian-Israeli filmmaker Shady Srour's work "Fadia" has garnered significant acclaim at the 2026 Monte-Carlo Television Festival, securing awards for Best Film, Best Actress for Yara Jarrar, and the Jury Special Prize. The project was developed as both a four-part television series for Israel's Arabic-language public channel Makan and a feature-length film for theatrical and festival release.

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I wanted to make something about honor killing. My big question was, how can a father, or a brother, or a mother kill their own daughter for something like this?

"Fadia" tackles the sensitive subject of honor killings, portraying it not merely as isolated criminal acts but as a broader tragedy influenced by rumor, social pressure, and community silence. Srour stated his intention was to confront a topic many communities avoid discussing openly. "I wanted to make something about honor killing," he said. "My big question was, how can a father, or a brother, or a mother kill their own daughter for something like this?"

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In more than 90% of the cases, there are no actual behaviors. It's not real. It's gossip.

Srour's research and reflection suggest that the violence in honor killings is often perpetuated by fear, shame, and reputational concerns rather than concrete actions. "In more than 90% of the cases, there are no actual behaviors," he noted, attributing the cause to gossip and rumors. He views the problem as rooted in a wider chauvinist and paternalistic social order, emphasizing that "the most important thing here is the message about the violence against women." Srour also added, "Society's silence is part of the violence."

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The most important thing here is the message about the violence against women. Society's silence is part of the violence.

The film's reception has been strong, with early audiences responding with intense emotion. Srour mentioned that viewers have shared personal stories of relatives killed years earlier, crimes that families had kept private. He described the film's structure as "very Shakespearean," inspired by classical tragedy but presented with a realistic thriller approach. "Macbeth was my inspiration," he said, particularly in shaping the mother character, aiming to bring classical tragedy into modern times.

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Everybody came afterward to speak to me - some people cried.