Directors Nathan Fielder and Lance Oppenheim’s “You Can See Everything” is a form of art that has never quite been articulated before. While the A24 film is framed as a documentary, it feels just as high-stakes and intense as a fictional narrative with its atmosphere of uncomfortable intimacy and subjects’ oddly exaggerated demeanors.
In his magnum opus, the intensely interrogative and dry-humored Fielder follows Theranos ex-CEO Elizabeth Holmes and her family life in her final 34 days before serving her 11-year prison sentence for wire fraud and conspiracy. Holmes and Theranos claimed that their technology could perform a wide variety of blood tests and diagnoses with very few blood drops from just a fingertip. However, in 2018, the company was dissolved after it was proven that the technology was highly inaccurate, and even diagnosed healthy patients with false sicknesses.
“You Can See Everything” provides an awkward yet oddly hilarious look into the life of Holmes and her partner, Billy Evans, as they navigate future plans for their company while trying to make sense of and form an explanation for the circumstances leading to Holmes’ inevitable prison sentence. Fielder’s dry humor blends perfectly into the slightly off atmosphere of Holmes’ San Diego home life, as a constant feeling of dread and distrust looms over every interaction between Fielder, Holmes, and Evans.
It is incredibly hard to fully review this movie without spoiling where it goes in the second half, and spoiling it in this review would ruin it for anyone who has not seen it. However, what I can say is that the film is so shocking and unpredictable that it is often hard to believe that all of these events and conversations actually happened and were (for the most part) not scripted. The movie is edited so seamlessly and shot in such interesting and unsettling close-ups and 0.5 zoom-outs; it is so beautifully crafted that it feels as if Fielder and Oppenheim intended the documentary to be a feature film.
If you see the movie on the big screen, your theater will be dying of laughter while not even sure whether or not it is appropriate to laugh. “You Can See Everything” feels like it takes place in an alternate reality where truth is irrelevant and Holmes’ final month before prison exists in another world, secluded from the timeline we live in.
As a viewer, you are immediately immersed into Holmes’ bubble, and don’t want to leave until you fully grasp who she truly is, what her partner Billy is hiding, and why Holmes acts the way she does. While those questions are never fully answered, as those answers either are not public information or do not exist to this day, watching Fielder attempt to peel back the layers of Elizabeth Holmes is endlessly engaging, jaw-dropping, and simply hard to believe.
Fielder is never afraid to step in and move beyond the typical documentary cliches of remaining unbiased and behind the camera. Instead, as the film progresses, he becomes more and more intertwined in the process, and manipulative in doing so, to gather as much information and vulnerability as possible from Holmes and Evans.
The film leaves the audience with fascinating questions such as what autonomy and independence in a relationship should look like, what is truly possible in documentary filmmaking, and whether Holmes is being completely deceitful or genuinely entirely unaware of everything going on around her. The unnatural, controlling, and slightly toxic dynamic between Holmes and Evans is shocking, and it will make you wonder how you got lucky enough to have such an in-depth look into the lives of two people that are as compelling and layered as fictional characters.
As of Oct. 18, 2026, “You Can See Everything” sits with the tied-highest IMDb score in film history with a 9.3/10, a 99% critic score and 98% audience score on Rotten Tomatoes, and a 4.7/5 average Letterboxd score, which is the highest on the platform of all time.
Variety argues that the film has a chance to become the first documentary to be nominated in the Best Picture category at the 99th Academy Awards. However, Oscar buzz aside for now, “You Can See Everything” is an experience that had never been quite created before — not until Nathan Fielder and Lance Oppenheim built this masterclass in creative and clever documentary-adjacent storytelling.
