No Good Men Review: Impactful But Uneven

No Good Men is a brave and intelligent stab at the patriarchal society of Afghanistan, but a muddled story lessens its impacts.

In particular, a central romance cheapens an otherwise impressive reflection on the historic and current place of women in Afghan society.

30-year-old Naru works at Kabul News as a camerawoman, but is given little opportunity to further her career. Instead, she films various interviews, such as with a doctor giving offensive guidance to women who have had babies, and vox pops about Valentine’s Day. Understandably, Naru thinks there are no good men in Afghanistan: she is in the process of separating from her unfaithful husband; all other men treat their wives as possessions; and her boss dismisses her as a bottom-rung staff member. The best parts of No Good Men come in these earlier stages, when Naru challenges others around her, sparking debates and conversations even with close female friends.

One such part involving a dildo, Naru, and two office friends is a highlight, with the trio discussing the toy with amusement and excitement. Clever visual techniques enhance this scene: on a computer screen behind the women is a paused video showing a member of the Taliban, a witty positioning of such a man within the context of the scene. Such visual cues extend into other scenes, such as a plethora of phallic cactuses behind the manager’s desk or Donald Trump beaming from photographs on the walls. No Good Men has a lot of interesting reflections on Afghanistan, which are constantly shown to us in imaginative ways, but the direction the story takes ultimately weakens such musings.

After connecting with other women via street interviews, Naru is given the chance to work with the news department, filming high-profile stories around the Afghan Government and the Taliban. Here, No Good Men falters. Naru works closely with 50-year-old reporter Qodrat (Anwar Hashimi, Wolf and Sheep), who icily dismisses her initially because of her gender. Nevertheless, Naru forges on, and the pair start to form a deeper connection, leading Naru to question whether there are actually some good men out there.

The fact that Qodrat is married with three children yet readily jumps at the chance of a potential affair lessens his character, and in turn, the duo’s relationship. Furthermore, No Good Men never really interrogates Qodrat as a character—there are hints, such as Naru’s friend positing the reasons behind such traditional behaviour by men in Afghanistan—and as such, the burgeoning romance feels cheap and nonsensical. As the film continues, Qodrat seems to abandon his wife and children altogether, or at the very least puts them firmly behind Naru in his priorities. In empowering Naru, Sadat essentially sidelines Qodrat’s wife. It causes the initial strong promise of No Good Men to buckle, with its potentially illuminating thematic potential withering away.

No Good Men will be screened at the BFI London Film Festival on October 8, 2026.