[8] However, despite the film’s accolades and success at Cannes, The Hour of Liberation Has Arrived was banned in most of the Arab world for its socialist and feminist politics.
"[9] Additionally, she invites audiences of every background and gender to deeply immerse themselves in the courageous events of the time, and aims to inspire other filmmakers to share their historically-rich stories as well.
[8] Additionally, Srour started making films through her PhD program in social anthropology under French Marxist historian and sociologist, Maxime Rodinson, who greatly influenced her aesthetics and politics.
[8] She also considers herself a "defeated feminist," directing her films towards “the Arab Left”, who “kept closing the subject” of feminism until “the main enemy, Imperialism, is defeated.”[9][8] Additionally, Srour sought to address European anthropological filmmakers, who “were paternalistic with the so called primitive societies” and “often observed them like insects.”[8] Instead, Srour hoped to depict the “so-called primitive societies” with greater nuance, showing how “the so-called underdeveloped people were more mature in terms of feminism and democracy than the citizens of industrial nations.”[8] Srour was the first female Arab filmmaker to have a film, Saat El Tahrir Dakkat or The Hour of Liberation Has Arrived, considered for the Cannes Film Festival.
[9] In 2025, her films were showcased in restoration at the Brooklyn Academy of Music as part of a series highlighting her feminist revolutionary work.