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Shahrbanoo Sadat’s film, No Good Men, opened the 76th Berlin International Film Festival on Thursday, presenting a rare Afghan romantic comedy set against the backdrop of the country’s impending fall to the Taliban in 2021. The film, which Sadat wrote, directed, and stars in, follows a journalist in Kabul as she reconsiders her views on men and love.

Sadat, who fled Afghanistan as the Taliban regained power and now resides in Hamburg, Germany, described the film as “a love letter to all the good men I know,” according to remarks reported by the Associated Press. She acknowledged the challenging task of selling a romantic comedy about Afghanistan, a nation often depicted through the lens of war and conflict. “Afghanistan doesn’t have a film industry and it’s always misrepresented by the films that are being made by international film-makers,” Sadat stated. “The only type of film-making that is expected is a war drama.”

No Good Men centers on Naru, a video journalist who works in a Kabul newsroom. The film explores her evolving relationship with a prominent reporter, set against the backdrop of the chaotic withdrawal of U.S. Forces and the escalating threat posed by the Taliban. The film’s director, Tricia Tuttle, hailed Sadat as “one of the most exciting voices in world cinema.”

The film’s production was complicated by the political upheaval in Afghanistan and the COVID-19 pandemic. Sadat found herself stranded during a writing retreat in Germany before witnessing the final days of the Afghan democracy. Her own experience of attempting to flee Kabul as the Taliban advanced is reflected in a particularly difficult scene to film, where characters desperately attempt to board a plane at the overrun airport. “I was at the airport with my family for 72 hours when everything started,” Sadat recalled.

Despite the serious subject matter, No Good Men incorporates elements of levity and satire, addressing the restrictions imposed on women in Afghanistan with a touch of humor. One scene features a character gifting another a cactus with a suggestive shape, a subtle commentary on patriarchal attitudes. Sadat identifies as a “naive optimist” and said she wanted to portray the space Afghan women were creating for themselves before 2021, both professionally and personally.

The film was shot in northern Germany, utilizing archival footage of Kabul to provide context. Sadat emphasized the importance of working within Germany’s large Afghan diaspora, casting actors from mosques, cafes, and restaurants frequented by the country’s Afghan community, which numbers over 460,000. She received “thousands of applications” from Afghans eager to participate in the project.

While the film is unlikely to be shown in Afghanistan under the current Taliban regime, Sadat believes it will reach Afghan audiences through online platforms and social media. The Taliban have imposed strict restrictions on films, music, and other forms of entertainment, adhering to a rigid interpretation of Islamic law.

Sadat likewise acknowledged that the period before the Taliban’s return was not without its own problems, citing widespread corruption. She stated she did not want to “romanticize the era of democracy” but rather present a nuanced portrayal of Afghan society.