MILLENNIUM
FILM JOURNAL



I am on the editorial board of the Millennium Film Journal, the world’s longest-running experimental film publication (founded in 1978). I first joined the journal in September 2018 as the Development & Editorial Associate, primarily doing administrative work, marketing, and grant-writing.
Since then, I’ve had my writing published in the journal, and was commissioned to create the first Video Essay for their new website. The video, shown below, traces the continuity from the Lumière Brothers’ Arrival of a Train at La Ciotat (1896) to Jacques Perconte’s Après le feu (2010), and how each reflects their respective century's changing status of the image.
In Fall 2022, I was asked to join MFJ as an editor, and am beginning work on the next issue.
In the fall of 2022, I reviewed David Claerbout’s exhibition “Dark Optics” at the Sean Kelly Gallery. It was published in issue no. 76 of MFJ.


In the fall of 2018, I reviewed the premiere of Jodie Mack’s The Grand Bizarre at the 56th New York Film Festival. It was published in issue no. 69 of MFJ. I have another article in the upcoming issue no. 76, releasing this Fall.


MILLENNIUM FILM JOURNAL
I am on the editorial board of the Millennium Film Journal, the world’s longest-running experimental film publication (founded in 1978). I first joined the journal in September 2018 as the Development & Editorial Associate, primarily doing administrative work, marketing, and grant-writing.
Since then, I’ve had my writing published in the journal, and was commissioned to create the first Video Essay for their new website. The video, embedded below traces the continuity from the Lumière Brothers’ Arrival of a Train at La Ciotat (1896) to Jacques Perconte’s Après le feu (2010), and how each reflects their respective century's changing status of the image.
In Fall 2022, I was invited to join MFJ as an editor, and am beginning work on the next issue.



In the Fall of 2022, I reviewed David Claerbout’s exhibition “Dark Optics” at the Sean Kelly Gallery. It was published in issue no. 76 of MFJ.


In the Fall of 2018, I reviewed the premiere of Jodie Mack’s The Grand Bizarre at the 56th New York Film Festival. It was published in issue no. 69 of MFJ.


VINCE
WARNE
b. 1995
Hi. I’m Vince Warne, an artist and designer interested in narrative, technology, and film.. After graduating from Wesleyan, I worked in the film industry until COVID-19 hit, then joined Interlace Inc, a Lightspeed-funded startup, as Creative Director. After leaving Interlace I created, marketed, and sold an NFT artwork for 17 ETH earlier this year.
Since then, I’ve done illustration and animation for clients including The Browser Company, Lexus, and Starling Labs. I’ve previously worked with the agency Diamond Hook Media as an art director on photo+video shoots for Squatty Potty and Obviously. I’ve also worked as an art director, animator, and set dresser on feature films and shorts which have gone on to premiere at Sundance and Locarno.
I’m passionate about film, and film writing; I am an editor at The Millennium Film Journal and have been published in Film Comment Magazine. I post daily AI-generated artwork imagining movies that don’t exist on an Instagram called Fourth Eye Film Archive, the successor to an interactive website I built early in the pandemic to raise money for shuttered theaters.
I’m currently seeking a full-time position in NYC or remote, in a role related to design, branding, and/or art direction. Drop me a line if you’d like to chat.
VINCE
WARNE
b. 1995
Hi. I’m Vince Warne, an artist and designer interested in narrative, technology, and film. After graduating from Wesleyan, I worked in the film industry in Brooklyn until Covid hit, then joined the Lightspeed-funded Interlace Inc, as Creative Director. After leaving Interlace I created, marketed, and sold an NFT artwork for 17 ETH earlier this year.
Since then, I’ve done illustration and animation for clients including Rolling Stone, The Browser Company, Lexus, and Starling Labs. I’ve previously worked with the agency Diamond Hook Media as an art director on photo+video shoots for Squatty Potty and Obviously. I’ve also worked as an art director, animator, and set dresser on feature films and shorts which have gone on to premiere at festivals like Sundance and Locarno.
I’m passionate about film and film writing; I’m an editor at The Millennium Film Journal, and have been published in Film Comment Magazine. I’m also interested in AI text-to-image generation–I write about it on Substack, create experimental AI video art, and make AI-assisted movie artwork on Fourth Eye Film Archive, the successor to an interactive website I built early in the pandemic to raise money for shuttered theaters.
I’m currently seeking a full-time position in NYC or remote, in a role related to design, branding, and/or art direction. Drop me a line if you’d like to chat.