“He is a dead man,” a bystander remarked as 16-year-old Nekai Foster lay bleeding on the street. However, the film refuses to end the story there. Nekai Walks is a 90-minute Canadian documentary directed by Rico King, featured in the Canadian Spectrum competition. It premiered at the Hot Docs Ted Rogers Cinemas on April 24th and 25th, 2026. The documentary not only delves into a journey of healing and rehabilitation but also offers an empowering and insightful perspective on the realities faced by the Black community in Toronto. It introduces Nekai Foster as a diligent student and devoted son. His life takes a dramatic turn after attending a basketball game with friends in Toronto’s Jane and Finch neighbourhood, when he is suddenly shot multiple times—struck in his legs, arms, and even his brain. The film illustrates the devastating, multigenerational impact of gun violence. Nekai describes feeling “trapped in [his] own body” during the shooting, upon waking in the hospital, and throughout the long process of relearning basic movements during rehabilitation. While the film focuses on his recovery, it also expands to include other victims and families affected by gun violence, many of whom are still dealing with loss and trauma.
The documentary presents raw and emotional moments—gunshots echoing over black screens, funerals marked by grief, and families recounting losses that still feel immediate. It also follows Devon Jones, a dedicated teacher and community advocate who reveals that he has lost more than 50 young people to gun violence. His perspective highlights a larger issue: underfunded and under-resourced schools are not failing on their own but are being failed by a system that continues to withdraw support. Through these voices, the film exposes systemic gaps, clearly illustrating not only who is affected but also how deeply those effects resonate across communities.
One particularly powerful scene stands out. At the Holland Bloorview Rehabilitation, Nekai attempts to play “A Thousand Years” by Christina Perri on the piano. As he works through the notes, the film alternates between his playing and moments from his physical therapy—taking steps, climbing stairs, and standing upright with visible determination. This sequence avoids sentimentality, quietly capturing both his vulnerability and persistence, allowing the significance of his progress to speak for itself.
Despite tackling heavy themes, the film masterfully infuses moments of humour that feel authentic and essential. Nekai’s knack for discovering lightness in small, everyday moments adds a beautifully human touch to the narrative. This delightful interplay of emotion and humour creates a shared experience in the theatre, with audiences reacting collectively in real-time. It’s worth noting that while the film contains potentially triggering elements, such as scenes of gunfire. Visually, the film draws from a mix of materials, including CCTV footage, personal photographs, and handheld recordings. While the audio and music are effective, it is the interviews that provide the documentary with its emotional depth. Nekai Walks is compelling, though it does have some shortcomings. Some transitions feel intentional and smooth, while others come across as abrupt. As the film approaches its conclusion, it occasionally lingers too long with moments that feel repetitive. Although Nekai remains the central figure, the narrative frequently shifts to other families affected by gun violence. This broader perspective adds context but can also make the film feel slightly unfocused, as if it is torn between being a personal story and a collective one. Whether this strengthens or dilutes its impact ultimately depends on the viewer.
Despite these imperfections, Nekai Walks leaves a lasting impression. Among its many reflections, one moment stands out the most. Nekai states, “Walking is not the biggest thing I accomplished in life. It is an accomplishment, but there are still many bigger things I want to accomplish.” This line reframes the entire film. Recovery is not the conclusion. Tragedy is not the final word. Instead, the film closes on a more forward-looking note: the ongoing process of healing and the determination to keep moving –– physically, mentally, and beyond. In the end, Nekai Walks is a symbol of the fight against gun violence in Toronto.