Cinépolis, one of Mexico’s leading cinema chains, has recently come under fire for its ‘Guarantee Cinépolis’ policy, particularly following consumer dissatisfaction with the contentious French film, Emilia Pérez. After its release, multiple social media users reported difficulties when trying to claim reimbursements under the policy, prompting the intervention of the Federal Consumer Protection Office (Profeco).
During the weekend after the film's premiere, numerous patrons remarked on social media about their failed attempts to invoke the guarantee policy when they found the movie unsatisfactory. According to Profeco, these complaints led to significant public outcry, with many attendees expressing their discontent with how the policy was applied at Cinépolis.
Iván Escalante, the head of Profeco, confirmed during the morning press conference on January 27, 2025, the necessity of addressing the thousands of complaints lodged by disgruntled consumers. He asserted, 'We immediately contacted the company after discovering the issue. What they indicated is they presented it as part of their marketing strategy, but the terminology used was misleading for consumers.'
Escalante emphasized the need for clarity surrounding the 'Guarantee Cinépolis', which had misled consumers who expected it offered actual guarantees of satisfaction. Many felt the film did not meet the quality standards promised by the chain, leading to calls for transparency and accountability.
Consumers were directed by Profeco to pursue their complaints officially, encouraging them to follow through with the legal avenues available to them. This move was largely welcomed by the public, who celebrated Profeco's proactive stance on safeguarding consumer rights. Patrons noted, 'We are grateful for Profeco's intervention to help uphold our rights as consumers,' showcasing the collective frustration aimed at Cinépolis.
Following the discussions with Profeco, Cinépolis agreed to alter its advertising. The company changed the terminology from 'Guarantee Cinépolis' to ‘Recommendation’, which would hopefully align more with consumer expectations and reduce confusion. 'The term 'recommendation’ is more accurate,' Escalante pointed out, alluding to the necessity of updating the company's consumer-facing communication.
He added, 'We sought the company to remove the term guarantee and replace it with recommendation or provide us with structured policies ensuring customer satisfaction.' This move addresses the fierce backlash and aims to restore consumer confidence.
'Cinépolis' guarantee was communicated as merely a recommendation under the new policy,' stated Escalante, underscoring the shift the cinema chain has had to undertake due to public dissatisfaction.
Meanwhile, the film Emilia Pérez faced harsh criticism not only for its content but also for the various discontent expressed at its depiction of sensitive themes. Directed by Jacques Audiard, the film narrates the tale of a lawyer tackling the issues surrounding drug cartel violence and identity transition, and it was filmed entirely outside of Mexico, which sparked additional ire among patrons seeking authenticity.
Despite the significant marketing push for Emilia Pérez, which involved endorsements from various cinema critics, the response from the audience was less than enthusiastic, with many filmgoers finding the film lacking. It emerged as at least something of a diversion, but the complaints about the guarantee overshadowed its release.
With the backlash generating attention, the Profeco's involvement brings to light the growing scrutiny of cinema policies and their roles in customer satisfaction. By taking control of the situation, Profeco aims to clarify policies not just for Cinépolis, but potentially for other cinema chains as well.
This case serves as yet another reminder of the importance of consumer rights and the need for transparency within the entertainment business, especially now as conversations around representation and vulnerability continue to dominate the cultural dialogue.
The situation remains tuned to develop, especially with the history of both strong responses to consumer dissatisfaction and the cinematic industry's evolution surrounding diverse narratives and consumer expectations.
The change from 'guarantee' to 'recommendation' will hopefully ease consumer concerns and almowerve the autonomy of the public's choice with greater clarity as they engage with cinema experiences.