The Telegraph by Tim Robey

Bessa’s contained fury goes haywire in this stretch, and brilliantly so: it’s a tour de force of social-realist acting to be notched up with the likes of Vittorio De Sica’s Bicycle Thieves.

The Hollywood Reporter by Lovia Gyarkye

Harka darts between genre conventions: One minute it feels like a thriller, the next a heart-wrenching drama, another a psychological study. When the risky mix-and-match works — and sometimes it doesn’t — the results are emotionally potent. Nathan is fascinated by desperation, the kind that roots itself in the mind and soul. What lengths will a desperate person go to in order to survive? That is the essential, thrilling question coursing through Harka.

The Observer (UK) by Wendy Ide

While the symbolism can land a little heavily at times, Bessa’s fiercely committed performance and the palpable anger in the storytelling are the picture’s driving force.

Little White Lies by Josh Slater-Williams

The rightful rage of its commentary is articulated with such clarity and specificity that it circumvents any accusations of ‘misery porn’.

Screen Daily by Wendy Ide

Ali’s anger and frustration is the engine which gives this heartfelt drama its energy; Bessa’s terrific performance, a thunderous scowl masking his rising anguish, is a considerable asset.

Empire by Hanna Flint

Lotfy Nathan’s debut is a grounded, sensitive portrait of a country still reeling from dysfunction. The script doesn’t penetrate as much as Adam Bessa’s searingly intense performance, which gives this social drama impressive emotional heft.