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Kinonik: A Microcinema Determined To Preserve the Analog Film Experience
ARTS ENGAGEMENT
Skylar Kelly introduces a film at Kinonik's microcinema.
Photo credit: Joshua Jenkins
After becoming a foundational format for professional filmmaking in the mid-20th century, 16mm film was largely replaced by newer digital technologies in the 1990s. Who, then, will carry on the legacy of the analog origins of filmmaking?
In Maine, it’s Portland-based nonprofit Kinonik. The microcinema was designed to preserve 16mm and, later, 35mm film, while providing an open space for film-goers to explore cultural traditions, aesthetics, and connection.
For Kinonik, analog film is a vehicle for something deeper. It offers a pathway for exploring meaning-making and grappling with the highs and lows of history. By honoring the power of analog film and the collective experience of viewing it with others, Kinonik carries on the spirit of old cinema clubs with a modern twist.
The Microcinema Experience
The microcinema was founded in 2016 by two film buffs, Andy Graham and Skylar Kelly. While Kelly brought his academic background in experimental documentary filmmaking, Graham brought a large collection of 16mm films and a passion for the field.
“I thought the younger generation should have the opportunities that I had to experience film as a community activity, rather than one that’s so isolating,” says Graham. And the Kinonik collection of more than 2,000 films spanning 130 years of international filmmaking does just that. Community members can peruse the collection or attend curated film screenings at the microcinema — free popcorn included.
In 2025, Kinonik screened 60 films and catalogued 350 new ones, while partnering with other cinemas, film clubs, and Portland theaters to engage Maine’s community of film enthusiasts.
When people pay close attention to an analog experience, the art of the film reveals itself and leads to a greater change in the individual’s state of being.”
— Skylar Kelly, Co-Director
The Collection
How does Kinonik choose which films to hold? Graham says it best: “We look for films that are equally important as cultural artifacts and as artistic endeavors. We’re doing well if the film has aesthetic merit, if it speaks to the zeitgeist, or if it relates to history in some way.”
What counts as aesthetic merit is a hard thing to pin down. Nonetheless, Graham and Kelly prioritize subversive voices and ensure each film has something to say about both historical and current events.
The Screenings
Screenings are shown on one of two projectors: an Eiki EX-6000 or an FP-30 EC II. According to Graham and Kelly, the projection is a vital part of the experience of watching analog films. Audiences hear the projectors as they view the film, connecting the materiality and engineering of the experience to the themes and aesthetics of the film itself.
The curation is critical, too. “When I make a screening program, I’m trying to anticipate what cultural shifts may occur,” says Kelly. “I’m trying to meet people where they’re going to be.”
In this way, the film screenings are a truly anachronistic experience: Kelly takes films from the past, anticipates the future, and puts it in the context of the present. Audiences are invited to connect the dots between these time periods, which often leads to fruitful conversation.
Film as an Avenue for Social Engagement
When you’ve got an audience of 50 people, you’ve got 2,000+ collective years of experience. They’re bringing a lot to the conversation, right?”
— Skylar Kelly, Co-Director
In a rapidly evolving digital world, there’s something special about analog film. “We spend so much time looking at digital screens that have the potential to ambush us with ads or notifications,” says Kelly. “But the stillness of projected cinema is different. There’s a sense of relaxation.”
That experience — particularly in a microcinema like Kinonik — encourages people to connect with one another and with the larger socio-political environment. The carefully curated programming, which aims to respond to the cultural moment, “highlights the human aspect of the film,” says Graham. “How did the film come to be in front of you this evening? What were the director and the cinematographers thinking when they made the film?”
These questions spark deep discussion and nurture the strong community spirit at Kinonik. Friendships have developed in the space, conversations emerge organically, and people dive into topics related to what’s happening around them every day.
“It’s a multigenerational environment that allows wonderful stories of culture and experience to be transmitted,” says Kelly. Take two frequent cinema-goers as an example. In the 1970s, these two people fell in love at the movies in New York City, and now, they frequent the microcinema, sharing stories and insights about the films with others.
The Future of Kinonik
As one of the few arts organizations in Maine working to preserve the history of 16mm and 35mm film, Kinonik is committed to expanding its collection going forward. Graham and Kelly are hard at work procuring new equipment for film screenings and finding ways to upgrade the quality of the filmwatching experience.
And they’ve got big ambitions for the future — starting an experimental film program, offering “how to read film” classes, and even teaching people how to work with and edit analog materials. As the nonprofit evolves, however, Graham and Kelly will stay committed to one thing: protecting and preserving the history that has made analog film so special.