Art, Inclusion, and Accountability at Camerimage: A Response to Marek Żydowicz's Controversial Remarks

It's been two weeks since the Camerimage Festival, and in the wake of the controversy surrounding Marek Żydowicz, founder and CEO of Camerimage, I felt compelled to share my thoughts. For those who may not know, Żydowicz wrote an Op-Ed for Cinematography World where he dismissed diversity initiatives, equating the work of female cinematographers with mediocrity, and questioned whether inclusion efforts were damaging artistic quality. His comments sparked widespread outrage and led to a unified call from the film community for accountability.

Żydowicz’s Misguided Remarks

Among his most inflammatory comments:

• “Can the pursuit of change exclude what is good? Can we sacrifice works and artists with outstanding artistic achievement just to make room for mediocre film productions… We must consider whether rushing to correct past wrongs threatens the artistic evolution of film as an art form. Should we reject what is esteemed and valuable just to ‘make space’ for the necessity of social change?”

• “Maintaining high standards of artistic evaluation is of immense importance and must not be marginalized or overlooked... Change, yes, but let’s remain decent and honest; it’s about rapid evolution, not a fanatical revolution that destroys the cathedrals of art.”

• "The festival has never aimed to glorify some at the exclusion of others nor to recognise works lacking artistic value."

To many, these remarks aren’t a defense of artistic standards but rather a thinly veiled platform for Żydowicz to vent his frustrations about being pushed toward meaningful change. His commitment to a Diversity and Inclusion Policy was only achieved after tireless advocacy from groups like Women in Cinematography (WIC) and Women Behind the Camera (WBTC). It’s clear that Żydowicz, after publicly agreeing to these changes, felt compelled to “clarify” his position with this self-righteous, misogynistic diatribe.

In reality, this isn’t about preserving art; it’s about maintaining control over a festival he created and resisting efforts to transform it into a truly inclusive space. One of my favorite moments in this entire saga came from a member of WBTC, who asked, “Exactly who is at risk of being excluded by fighting against exclusion?”

Context and Broader Implications

This isn’t the first time Camerimage has faced backlash regarding inclusion:

• Earlier Incidents: Two years ago, a moderator at the festival’s music video competition dismissed the lack of women on stage by suggesting that women in the audience “ask more questions” to earn their place in the spotlight.

• The “Rust” Screening: Earlier this year, the festival faced intense backlash for screening Rust, the film on which cinematographer Halyna Hutchins tragically lost her life due to negligence on set. This decision reignited discussions on the exploitation of crew members, whose safety is often sacrificed in favor of profit.

Another moment in Żydowicz’s article that struck me—and further demonstrated his frustration with being asked to embrace compassionate practices—was his statement:

“The essence of cinema is not just the literary message content or the context of a film's production conditions, which are often overemphasized by critics, but primarily the aesthetics and emotional expressive power of the moving image.”

This dismissive remark about “production conditions” feels like a veiled rebuke to the criticism Camerimage received for screening Rust. The decision to showcase the film—where Hutchins’ tragic and preventable death occurred—drew widespread condemnation, especially from groups like WBTC. Żydowicz’s phrasing positions legitimate concerns about safety and ethical practices as distractions from the supposed "artistic aesthetics" of the film, further alienating participants like myself, who were already disillusioned by the festival’s failure to uphold basic standards of accountability.

The Core Debate

Żydowicz’s comments reveal a broader industry tension: the false dichotomy between inclusion and quality. Critics have long argued that diversity efforts don’t “exclude what is good” but challenge the biases that have historically defined who gets to be regarded as “great.” As a participant in the WBTC chat group noted, “Change isn’t changing people’s minds; it’s changing the space so they no longer have a platform to stand on.”

Industry Outrage and a Unified Response

What followed this controversy, however, was nothing short of remarkable. The film industry rallied together to unequivocally condemn Żydowicz’s remarks:

• Industry Leaders Speak Out: The British Society of Cinematographers (BSC) and the American Society of Cinematographers (ASC) publicly condemned Żydowicz’s statements. In an open letter, the BSC labeled the remarks as "profoundly misogynistic" and indicative of "deep-rooted prejudice."

• Filmmakers Take Action: Steve McQueen, whose film Blitz was slated to open the festival, withdrew in solidarity with women who felt belittled by Żydowicz’s words. Director Coralie Fargeat also pulled her film The Substance, supported by her cinematographer, Benjamin Kračun.

• A Flawed Apology: Initially, Żydowicz's responses failed to quell the outrage. He framed the backlash as a “misunderstanding” and suggested his comments were taken out of context. Eventually, a more sincere apology came, though many saw it as damage control rather than genuine remorse.

• Joanna Żydowicz-Baris’s Response: In response to the backlash, Joanna Żydowicz-Baris, deputy director for VIP Relations and Film Production at the EnergaCamerimage Film Festival (and, yes, Marek's daughter) emailed hundreds of female film workers, seemingly at random as some high-profile women received an email and others did not. In the emails, she lashed out at the women and organizations that were calling out Marek Żydowicz’s harmful statements, urging them to recant their criticisms. Many industry members were outraged by her comments, finding her approach to be tone-deaf. Others found it merely misguided, claiming that her actions may have stemmed from a perspective influenced by her home country’s different approach to women’s rights.

• Women in Poland Protest in Solidarity: In response to the controversy and the views expressed by Żydowicz, women in Poland organized protests to express solidarity with the international backlash and highlight broader gender inequality issues in the country. These protests were not just about the festival, but also about the systemic patriarchal attitudes that persist in Polish society. The demonstrators voiced their support for global advocacy groups like Women in Cinematography and the British Society of Cinematographers, calling for a shift in societal consciousness and legal reform to promote gender equality. The protest highlighted the necessity of not just addressing issues within the film industry but also tackling deeply entrenched gender disparities in all sectors of Polish life.

Advocacy Misrepresented

In one of his non-apologies, Żydowicz took credit for the Diversity and Inclusion Policy—policy changes that were actually spearheaded by advocacy groups like WIC and WBTC. These organizations worked tirelessly alongside industry leaders to bring about these changes, which Żydowicz had resisted for months. Yet, he announced these policies prematurely and without consulting the groups involved, misrepresenting their hard work as his own. This move only deepened industry frustration and highlighted his reluctance to truly embrace inclusion.

A Glimmer of Hope

Żydowicz’s initial attempts to dismiss the backlash only fueled the fire. His first two responses framed the criticism as a misunderstanding, trying to defend his position. But the industry did not relent. It demanded a sincere apology—and it got one. While the final apology felt more like an attempt to save face, the collective pressure showed the power of public accountability.

As one member of WBTC said, “Change isn’t about changing people’s minds—you rarely will. It’s about changing the world so their harmful opinions no longer hold sway.” The industry's response proved that even entrenched attitudes can be challenged through collective action.

Moving Forward

The Camerimage controversy should be seen as a turning point—a reminder that the push for diversity and inclusion will not be sidelined. Those who attempt to undermine it will be held to account. This controversy is also a call to action: the industry must continue to amplify underrepresented voices and create spaces where outdated prejudices are no longer tolerated. While Żydowicz’s words revealed how far we still have to go, the response showed how far we’ve already come. This is a step forward.

At this year's festival, gender parity became a key topic, with prominent industry leaders like Cate Blanchett and Mandy Walker speaking out about the challenges women face in securing key roles, particularly as cinematographers. Though I wasn’t able to attend this year, I was heartened to see posts highlighting these conversations. I look forward to hearing more about the panels and screenings led by women at the festival, part of the ongoing Diversity and Inclusion efforts championed by Women in Cinematography. Well done, ladies!

As a response to Marek Żydowicz’s statement in his controversial Op-Ed, a sentiment from a colleague of mine really resonated with me. In his article, Żydowicz ominously warned that inclusivity efforts might “burn down great cathedrals.” To this, my colleague beautifully rebuked: “We are the light.” Her words really stayed with me and I had this idea for this political cartoon which I made using a combination of sketching, collage, and AI software.