{"product_id":"november-2026-issue-film-50-digital-edition","title":"November 2026 Issue: Film 50 (Digital Edition)","description":"\u003ch2 style=\"text-align: center;\"\u003e\u003cstrong\u003eFilm 50 2026\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cstrong\u003eChicago's screen gems\u003c\/strong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003eThis has gotta be Chicago's year, right? Isn't every year difficult and daunting? Yes, but not like this one. \u003cspan\u003eVital insights about transformation and perseverance elevated our exchanges with the members of the 2026 Film 50, the eleventh edition of the list, and we've got the history of our Hall of Fame members standing tall behind them. With the hundreds of film workers we look toward—in professions not limited to production, exhibition, projection, criticism—we see industries that bloom from the elastic imagination of the players. We were looking for reinvention, intelligence, versatility, and yes, urgency, and the folks you are about to meet display all these traits. (\u003cstrong\u003eRay Pride\u003c\/strong\u003e)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"ltr\" style=\"text-align: center;\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eCAPE Crusader\u003c\/strong\u003e\n\u003c\/h2\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cstrong\u003eHow Rashid Johnson's origin story in Chicago made him an art superhero\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cspan\u003e\u003cmeta charset=\"UTF-8\"\u003eAt first glance, Rashid Johnson’s artistic output appears anathema to institutional success. His complete lack of fealty to one medium—photography, painting and sculpture all figure heavily in his practice—makes a retrospective approximation of his oeuvre unwieldy at best. Then there’s his irreverence: how can you curate Johnson’s work without letting its bathetic, self-mocking vernacular render the whole enterprise ridiculous? Johnson’s status as an artist of color making work about race doesn’t help his case given our present political environment, replete with federal power brokers hellbent on relegating identity to secondary status within the arts. (Johnson isn’t exactly the timid diarist with his explorations of racial identity: one of his first major solo shows bore the caustic title “Stay Black and Die.”) When Johnson’s work bedazzled the Guggenheim’s ramp in a career-wide retrospective last April, then, it felt like nothing short of a miracle. \u003cb id=\"docs-internal-guid-dc52fd78-7fff-73ca-7d33-e0771383579b\"\u003e(\u003cb id=\"docs-internal-guid-0e4609c9-7fff-bb72-6fb3-5c7909fbb70e\"\u003eCharles Venkatesh Young)\u003c\/b\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cstrong\u003eOff the Road\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cstrong\u003eThe artists Bob Waldmire and Elijah Miller might be a generation apart, but Route 66 connects them\u003c\/strong\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cspan\u003e\u003cmeta charset=\"UTF-8\"\u003ePerched in a section of the comprehensive Bob Waldmire exhibit at the Pharmacy Gallery and Art Space in downtown Springfield, Illinois, is a watercolor the late artist and cartographer did of “The Amputee.” Bob spotted this one-legged grackle in September 2008 at sundown in a Flying J parking lot on Route 66 between Seligman and Kingman, Arizona.\u003cb id=\"docs-internal-guid-4de59653-7fff-fdc6-e8e8-1d8bffa1dd68\"\u003e (Dave Hoekstra)\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch2 dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cstrong\u003eBlind No More\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eJeffrey A. Winters has a read on how oligarchs rule through democracy\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cspan\u003eIn his new book, “The Blind Spot: How Oligarchs Dominate Our Democracy,” Winters argues that the current gulf between oligarchs and average citizens is larger than any gap that existed during European feudalism or imperial Rome. He writes that Americans have a “blind spot” about the power of the oligarchy, though the deck has been stacked in favor of the wealthy since the nation’s founding. The oligarchy has become more extreme and “in your face” in recent years, with tycoons like Elon Musk flaunting their wealth and giving millions to candidates who will further cut their taxes and oppress the poor. (\u003cstrong\u003eMary Wisniewski\u003c\/strong\u003e)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 style=\"text-align: center;\"\u003e\u003cstrong\u003eArts \u0026amp; Culture\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cspan\u003e\u003cstrong\u003eArt\u003c\/strong\u003e: \u003c\/span\u003e\u003cspan\u003eDetroit’s MOCAD at twenty\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cspan\u003e\u003cstrong\u003eDance\u003c\/strong\u003e: \u003c\/span\u003e\u003cspan\u003eCompagnie Hervé Koubi and their “Sol Invictus”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cspan\u003e\u003cstrong\u003eDesign\u003c\/strong\u003e: \u003c\/span\u003e\u003cspan\u003eStereo Furniture's livable, collectible furniture\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cspan\u003e\u003cstrong\u003eFilm\u003c\/strong\u003e: \u003c\/span\u003e\u003cspan\u003eThe four senses of Chicago cinephiles\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cspan\u003e\u003cstrong\u003eLit\u003c\/strong\u003e: \u003c\/span\u003e\u003cspan\u003eChicago’s indie bookstore renaissance\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cspan\u003e\u003cstrong\u003eMusic\u003c\/strong\u003e: \u003c\/span\u003e\u003cspan\u003eAndrew Bird is hiding in plain sight\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: center;\"\u003e\u003cspan\u003e\u003cstrong\u003eStage\u003c\/strong\u003e: \u003c\/span\u003e\u003cspan\u003eSeojung Jang's lighting design travels from Seoul to Chicago\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 style=\"text-align: center;\"\u003e\n\u003cb\u003e\u003c\/b\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\n\u003c\/h2\u003e\n\u003cp style=\"text-align: center;\"\u003eWe're at peak season. Are you?\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch2 style=\"text-align: center;\"\u003e\u003cstrong\u003ePoetry\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cb\u003e\u003cspan\u003e\"Wake\": \u003c\/span\u003e\u003c\/b\u003eA new poem by Eamon Dunn\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003cem\u003e\u003cspan class=\"s1\"\u003eShipping is included in the price.\u003c\/span\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cem\u003e\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003ch3 style=\"text-align: center;\"\u003e\u003ca href=\"https:\/\/newcityshop.com\/collections\/newcity-subscriptions\" title=\"Subscribe\"\u003e\u003cstrong\u003eSubscribe \u003c\/strong\u003e\u003c\/a\u003e\u003c\/h3\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003cstrong\u003eNever miss an issue!\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003cem\u003e\u003cstrong\u003eCover\u003c\/strong\u003e: \u003cmeta charset=\"UTF-8\"\u003eDetail of Rashid Johnson, Self Portrait Laying on Jack Johnson's Grave, 2006. Chromogenic print mounted on panel; 40 1\/2 × 49 5\/8 in. (102.9 × 126 cm). Edition 1\/3, 2 AP. Collection of Dr. Daniel S. Berger. © Rashid Johnson\u003c\/em\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Newcity","offers":[{"title":"Default Title","offer_id":67086583922803,"sku":"100","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0022\/0482\/7707\/files\/Newcity_2026-11_Cover.jpg?v=1792356269","url":"https:\/\/newcityshop.com\/products\/november-2026-issue-film-50-digital-edition","provider":"Newcity","version":"1.0","type":"link"}