Berlinale 2026: No Good Men (dir. Shahrbanoo Sadat) | Review
No Good Men offers a rare and engaging glimpse into the lives of Afghan women working in media, blending romance and political reality — even if its execution occasionally slips into cheesy sentimentality.
The 76th Berlinale opened with the world premiere of No Good Men, the third feature from Afghan filmmaker Shahrbanoo Sadat, whose previous works include Wolf and Sheep (2016) and The Orphanage (2019). Premiering as the Opening Gala at the Berlinale Palast, this rom-com drama is set in Kabul in 2021, shortly before the Taliban’s return to power, and is based on real events drawn from the autobiographical writings of actor and author Anwar Hashimi, who co-stars alongside Sadat.
At its centre is Naru (Sadat), the only camerawoman at Kabul’s main television station, juggling her job with single motherhood. Convinced that there are no good men in Afghanistan, Naru’s worldview begins to shift when she is assigned to work with Qodrat (Anwar Hashimi), the station’s star reporter. As they travel and report on shootings, fires and fights through the city of Kabul, Qodrat’s charm and tenderness forces Naru to reconsider her ‘no good men’ convictions.
The film continues Sadat’s project of foregrounding Afghan women’s lives, weaving a politically charged narrative with humour, warmth, and moments of genuine tenderness. Her perspective offers a seldom-seen glimpse into both media labour and gender dynamics in contemporary Afghanistan.
Yet, while I found the film engaging and enjoyable to watch, its execution occasionally veers into cheesy heavy-handedness. The script was often quite on the nose, and occasionally performances, too, sometimes tipped into overstatement, with moments of heightened emotion drifting into predictable sentimentality.
And yet, there is something undeniably fascinating about encountering a classic workplace romance — complete with sparks, misunderstandings, and reluctant attraction — within a context so rarely represented. The juxtaposition of familiar genre beats with the specific historical moment of troop withdrawal and looming regime change creates a dissonance that is, at times, deeply affecting.
Whilst No Good Men didn’t resonate entirely with me, despite its significant subject matter and undeniable cultural importance, it remains a worthwhile watch. If its reach occasionally exceeds its grasp, its ambition and perspective make it a meaningful addition to Sadat’s ongoing cinematic exploration of Afghan life.
Our team is on the ground at the 76th Berlin International Film Festival, running from February 12th to 22nd, 2026.
