
In the intertwining lives of love and technology, Anna, embodied by the talented Jessie Buckley, walks a complex path. Engaged in a long-term relationship with Ryan (played by Jeremy Allen White), a contentious computer test heralds them as 100% compatible. Yet, contentment eludes Anna, leading her to a job in the Love Institute, a place using technology to map the labyrinthine paths of love. Trained by Amir, brought to life by Riz Ahmed, she is left to question if technology, with its rational algorithms, can truly unravel the essence of an emotion as chaotic and vulnerable as love?
“Fingernails” is the second film by the acclaimed Greek director, Christos Nikou, popular for his collaborations with Yorgos Lanthimos and Richard Linklater. This film dabbles in the English language and questions the ever-increasing reliance on digital matchmaking.
Nikou’s inspiration stemmed from modern dating realities, where algorithms dictate choices, and a swipe decides destiny. He perceives love as a chemical reaction – an energy flow between two individuals beyond the virtual screen of technology. However, he observes a fascination, especially among young individuals, with online dating, seeking surety from algorithms rather than human instinct and surprise.
Nikou purposely avoids defining the film’s timeline but envisions it during a simpler, pre-digital era. His intention was to create a timeless commentary on love and the increasing intrusion of technology into this sacred realm. He uses the metaphor of the removal of a couple’s fingernail for the compatibility test, hinting towards the sacrifice and pain that love often demands.
Performing the tests at the Love Institute, couples participate in assorted exercises before the nail extraction. These include being blindfolded and identifying their partner amongst a group merely by scent, mimicking certain aspects of couples’ therapy.
As Anna’s relationship with Ryan falters, she finds herself drawn to her mentor, Amir. The film portrays this growing connection powerfully, thanks to the compelling on-screen chemistry between Buckley and Ahmed. Nikou describes working with them as a joy, expressing deep admiration for their acting prowess and human qualities.
Despite its unique narrative, the film’s reception has been anything but unanimous. While Guy Lodge of Variety and Alissa Wilkinson of Vox sing its praises, Charles Bramesco of The Guardian and Todd McCarthy of Deadline are less enamoured. The central performances are universally lauded, but the audacity of the premise draws mixed reviews.
Regardless, Nikou remains hopeful that the film’s contemplative nature will provoke thought even after the credits roll. He centers on the idea that love is not quantifiable but a continuous journey of work and adaption. He implores viewers to follow their raw instinct and the stirrings of their heart when it comes to love, rather than succumbing to the cold logic of modern technology.