Father & Son: Colin and Cole

I've photographed several mothers and their children, but for a long time I've wanted to capture a candid moment between a father and child.  I couldn't ask for a better moment than between Colin and Cole.

Elegance on Bloor Street West

Maggie Q Rallies for Pit Bulls

[pictured: Maggie Q & Marbles]

International action-star Maggie Q took a break from shooting Nikita yesterday to show her support at the Ontario Dogs Vote rally against breed specific laws.

Current legislation bans pit bulls (or any dog that shares similar physical characteristics) in Ontario and ignores statistical evidence that restricting the breed does not deter dog attacks.  To repeal the ban, NDP-MPP Cheri DiNovo introduced Bill 60 or Hershey's Bill.  

Coincidentally, Q recently shot a PSA for Ohio's Bill HB 14, which similarly rejects pit bull banning and felt compelled to join the local cause.

Click "play" below to hear what she had to say to the enthusiastic crowd at Queen's Park.

If you want to learn more about Hershey's Bill and protect Ontario's pit bulls, click here.

Fox in Kensington Market

Fox describes her style as "flowy and earthy...stuff I put together from my travels."

When it's so easy to follow trends -- it's inspiring when someone (like Fox) puts some thought in what they wear and dares to be different.

Shelley: Obsessed With Swedes

Shelley loves wearing Preloved creations (such as this beautiful dress) and she's absolutely "obsessed" with her Swedish Hasbeens.

Anna & Evgueni: Shopping in Style

Catherine's Fall Street Style

Stephanie: Evening with Fellini

In addition to the renowned director's classic film work, we admired Stephanie's cool street style at the Fellini exhibition.

Alex in the City

As much as we like Alex's street style, we especially love her hair: "it's always big...it's always full and fyi,  I had my bangs before Lady Gaga."

Devin: Poetic Style

Devin recently moved to the city to find a publisher for her "whimsical" poetry.

Sophia Visiting from Germany

Sarah: Classy Vintage

Sarah blew us away with her timeless look.  She purchased her hat at Cabaret, her vintage coat at a country auction and her polished shoes at Payless ($20).  Absolutely a stunning ensemble.

Brandon & Cloud: Sleepy on Queen Street West

Cloud wasn't too impressed with us, but we would hate it if he lost any sleep.

Jules Under the Lightbox

During the film festival, I've spent a lot of time around the TIFF Bell Lightbox.  That's where I met Jules.

TIFF 2011: "Dark Girls"' Strong Message Gets Under the Skin

In the documentary Dark Girls, there's a heart-breaking moment when a young dark-skinned girl acknowledges that light-skinned girls are both prettier and smarter.  The child hasn't lived many years, but she shockingly shares her opinion with the utmost certainty.  How does this happen?  Directors Bill Duke and D. Channsin Berry (pictured below) explore this question and more in their new and revealing documentary.

[Co-directors D. Channsin Berry (left) & Bill Duke (right)]

The film captures the emotional testimonies of several black women (both young and old) who have struggled (or are still struggling) with their identity in America.  They each recount stories of discrimination within their own culture -- specifically targeting the darkness of their skin or the thickness of their hair. One mother shares a troubling time when her daughter asked to be bathed in bleach in an attempt to lighten her skin. Indeed, in many communities, perceived beauty is having light coloured eyes, fair skin and flowing hair (frank conversations with young black men corroborate this belief).  Together with educators and child psychologists, Duke and Berry examine this perpetuated prejudice on a historical, media and quantum physics level.  The result is a fascinating and illuminating film that speaks of an epidemic that is not exclusive in Black America.  The widespread use of skin-lightening creams in Asia is a testament that it's a global problem.

At the last TIFF Q&A, the filmmakers added that Dark Girls only scratches the surface of the complexity of race in America and that their next project will focus on black males, but until that feature is made, it's fortunate to have Dark Girls to spark the difficult conversation.

Currently, Dark Girls does not have North American distribution.   

Jill: Dinner in Yorkville

Lily-Anna: Gypsy Generations

Lily-Anna's street style is very much influenced by her Gypsy heritage:  "It's because I'm a Gypsy that I have this style.  It's also why I do psychic readings -- it's been passed down from generation to generation."

And if you're interested in a reading, Lily-Anna invites you to call her office at 647-678-3980.

TIFF 2011: Celebrated Director Steve McQueen Brings "Shame" to the Festival

After seeing 32 films in 10 days, I can categorically say that only one film stood out for me:  writer/director Steve McQueen's Shame -- an incredibly dark and brutally honest film.

[Pictured: Director Steve McQueen (Hunger)]

Handsome, likeable and successful, Brandon (Michael Fassbender) appears to have his life together, but looks can be deceiving.  In reality, he is a desperate, weak and sad man who suffers from the ills of sex addiction.  Incapable of having a normal relationship with anybody, he hides in his lonely world and takes solace in having indiscriminate sex and watching internet porn.  Despite his infliction, he's able to manage his personal and work life -- that is until an unexpected visit from his estranged sister (Carey Mulligan) throws his world in a tail spin.

There's no doubt that Shame's edgy images will discomfort and embarrass audiences.  Some viewers will likely turn away from the screen and that's to McQueen's credit.  The secret life that he creates for Brandon is ugly and yes, shameful.

Fassbender effortlessly brings a sensibility to his character, who -- in lesser hands -- would be repulsive. Mulligan delivers an impressive dramatic performance and McQueen's direction is simply outstanding.

There are many films that depict the struggles of addiction -- including, Owning Mahoney (gambling), Requiem for a Dream (drugs) and, of course, Leaving Las Vegas (alcohol), but its rare when a film recognizes the pitfalls of sex over-consumption.

In today's world of excess, it's about time we have Shame.

TIFF 2011: Director Geoffrey Fletcher, Alexis Biedel, James Gandolfini & Saoirse Ronan at the "Violet & Daisy" Premiere

Oscar-winning screenplay writer Geoffrey Fletcher (Precious), now turned director, has put a sweet spin on the hitman genre with Violet & Daisy - a story about 2 young assassins who accept what appears to be a regular hit-job, but turns out to be the defining moment of their lives.

The film begins with Violet (Alexis Biedel) and Daisy (Saoirse Ronan) dressed as nuns blasting several thugs away in a New York apartment building.  The bloodbath is similar to kill scenes in a Tarantino or Scorsese crime drama, but the big difference is that these killers have heart.  Before leaving the scene of the crime, Violet adopts the thugs' orphaned puppy.

Later, the women reluctantly accept a suspicious job that promises to be easy.  They break into the target's apartment and await his arrival -- only to fall asleep on his couch with guns in hand.  When they awake, they are surprised to discover that their target (James Gandolfini) has covered them with a blanket and made them fresh oatmeal cookies.  Even more surprising, the man is willing to accept his horrible fate.  Confused by his strange response, the women try to make sense of their situation, but soon become targets themselves when a rival gang arrives with the same deadly agenda.

[Saoirse Ronan is Daisy]

There's a lot to like about Violet & Daisy.  The hitman genre has been done to death, but Fletcher's take is cute and funny: despite being professional killers, the protagonists are still very much young girls (they play paddy cake and hopscotch, and go gaga for couture dresses).  Although this twist may be too saccharine for die-hard gangster film lovers, it effectively adds to the heroines' sociopathic nature.  After butchering several guys, the girls do the "internal blood dance", which has them jump up and down on their victims' stomachs until blood spouts out their mouths like a fountain.   

[Alexis Biedel is Violet]

It's interesting that Fletcher has followed up the success of Precious with this dark comedy, but considering the bleakness of that picture, Violet & Daisy is likely as welcome a departure for him as it is for audiences.

Tessa Texting in the Square