Maciej Kozłowski is a film editor with over 20 years of experience working for major global brands such as Heineken, Adidas, NIVEA, Pepsi, McDonald’s, Samsung, Mercedes-Benz, and Toyota. He collaborates with directors from around the world on a daily basis.

His timeline features Robert Lewandowski, Roger Federer, Iga Świątek, Robert Kubica, Kate Moss, Emily Ratajkowski, and Georgia May Jagger, among others. The commercials he edits regularly win industry awards, including KTR swords. His individual works have won numerous awards, and his latest edits have been shortlisted for Berlin Commercial 2025 and Berlin Fashion Film Festival 2025.

A graduate of the Łódź Film School and the Wajda Film School, he is a member of the PSM (The Polish Association of Editors). From etudes, music videos, and short formats, through commercials, to feature films and series produced for streaming platforms, including Netflix.

Maciek Kozłowski’s style was created at the intersection of these two worlds: narrative cinema and dynamic advertising. He combines narrative structure with the energy of short form, precise construction with intuitive emotional guidance.

An important element of his work is his high musical sensitivity, resulting from his experience in music production. He treats rhythm and sound as the foundation of editing, which builds the tempo, tension, and emotional impact of the image.

Twenty years of experience in the industry have translated into a deep understanding of production processes, market realities, and the needs of clients and brands. He has a thorough understanding of marketing objectives, communication strategy, and time constraints, making him a reliable partner in the post-production process. He works quickly, precisely, and under pressure, always focusing on solutions that best serve the project and the client’s interests.

Despite the commercial context, his approach to editing remains original. Advertising becomes pop-art here – a visually appealing form based on micro-emotions and meaning. It is for these brief but genuine viewer reactions that he invariably returns to editing.