Within the first few minutes of Christos Nikou’s sci-fi-inflected satire “Fingernails,” viewers will question why trust is placed in a machine’s readout rather than following their own hearts. The film offers the notion that the test predicts the likelihood of future divorce, but is it worth jeopardizing a good relationship for the sake of a microwave attached to a vintage TV set? Rational audiences will likely dismiss the magic love science as they would a compatibility quiz in a magazine. Surprisingly, it takes the characters in this speculative thought experiment almost two hours to realize the flaw in the film’s flimsy premise.
Nikou, a former assistant director to Yorgos Lanthimos, follows in his mentor’s footsteps by introducing a conceptual twist to attraction. However, unlike Lanthimos’ film “The Lobster” which brought mordant non-realism to the world of dating, “Fingernails” takes a more pedestrian approach to relationship insecurity with its quirky hook. In this film, test participants must undergo the painful act of having a nail ripped off with pliers. This literal-minded approach includes the belief that heart malfunctions manifest in the fingernails. Anna, the film’s protagonist played by Jessie Buckley, becomes convinced that her anxiety stems from her nails and believes that shorter digits will solve her problems.
Anna works at the Love Institute, founded by the idealistic Duncan, played by Luke Wilson. She hides her new job from her boyfriend Ryan, played by Jeremy Allen White, who lacks sexual interest in her and has a penchant for boring documentaries. As Anna develops a closer relationship with her coworker Amir, played by Riz Ahmed, she starts to question whether she could have a better life.
Beneath the film’s surface, there is a message about the need to actively maintain love, as it will wither if taken for granted. However, Anna does not put effort into working on her relationship with Ryan or express her disinterest in his activities. She seems to want to disrupt her own life. Nikou could have delved deeper into this self-destructive behavior, but he holds back due to a sentimental streak. Unlike “The Lobster,” which portrayed courtship as a fascistic series of rituals, “Fingernails” presents a more relatable romance.
The chemistry between Buckley and Ahmed is undeniable, and their performances elevate the material they were given. Buckley, in particular, shines as she quietly sings Yazoo’s “Only You” at her desk, showing what Amir sees in her. However, the elusive and guarded performances from the main cast can only do so much to elevate the shallow material provided by Nikou. Overall, “Fingernails” is a mildly amusing film that falls short of its potential.
“Fingernails” premieres on Apple TV+ on November 3rd.
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