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In post-war Kosova, a story of rebirth and the struggle to rebuild lives.
N’TOKËN TÔNË (In Our Land) is Eki Rrahmani’s first feature film, an ambitious post-war Kosova story made on a shoestring budget and completed through sheer cinematic will. Shot across London, Qatar and Kosovo, the film stands as a remarkable achievement in independent filmmaking: a deeply personal work carried by memory, exile, humour, trauma and the determination to tell a story that could only have come from those who lived its history.
Set between London and a village in post-war Kosova, the film follows Bekim, an ambitious architect haunted by the family he left behind when he fled the war. Back home, his dying father Zekë waits for his son’s return, while the village carries on amid grief, poverty, resilience and the strange rituals of survival. When Kema, a mischievous orphan boy shaped by the violence of war, steals Zekë’s phone after his burial and begins making prank calls, the village is thrown into confusion as the living appear to receive messages from the dead.
The film brought together an extraordinary cast of some of Kosovo and the Balkans’ most respected actors — artists who joined the project for the love of cinema and the power of the story. Led by Çun Lajçi, one of the great figures of Albanian and Balkan acting, the ensemble includes Adrian Morina, Fisnik Ademi, Armond Morina, Maylinda Kasumović and Valina Muqolli, whose performances give the film its emotional force, humour and humanity.
Written by Jeton Kulinxha and directed by Eki Rrahmani, the film was shot by cinematographer Jake Corbett and edited by renowned editor Kant Pan, known for his work on the cult classic The Crying Game. That combination of international craft and local emotional truth gives N’TOKËN TÔNË a rare texture: intimate, folkloric, painful and unexpectedly funny.
At its heart, N’TOKËN TÔNË is a film about exile, guilt and atonement; about those who left, those who stayed, and the ghosts that remain between them. It captures the sadness and absurd humour of a community trying to heal after war, while asking what is owed to the dead, to the living, and to the land we still call home.
