You Can See Everything is a 2026 American experimental meta-documentary directed by Nathan Fielder and Lance Oppenheim that follows disgraced Theranos founder Elizabeth Holmes and her partner Billy Evans in the weeks leading up to her prison sentence.
Director: Nathan Fielder, Lance Oppenheim
Cast: Elizabeth Holmes, Nathan Fielder, Billy Evans, Amanda Seyfried, Christopher Abbott
Release Date: October 16, 2026
Genre: Documentary, Biography, Comedy, Crime
Rated R for language and some graphic nudity.
Runtime: 2h 54m
Review:
You Can See Everything is a rather mesmerizing documentary that morphs into something else entirely about halfway in to become something uniquely singular and thought-provoking that will likely leave you with more questions than answers. Lance Oppenheim and Nathan Fielder’s documentary starts off traditionally enough even with Fielder’s distinctive style as we follow disgraced Theranos founder Elizabeth Holmes and her family in the days before her incarceration in federal prison. If you are familiar with Fielder’s previous work, you’ll find plenty of his usual hallmarks early on as he embeds himself in the family before ultimately moving in with them. There’s a sense of false intimacy that permeates the first hour or so Fielder attempts to delve into Holmes state of mind. It’s a rather fascinating chess match with Fielder being rather direct at various points throughout about the criminality of the actions that led Holmes to end up with her being convicted of defrauding investors. The fact that Holmes and her partner, Billy Evans, reached out in order to tell “their side” of the story throws up red flags immediately as we get the sense they’re both playing the long game as they attempt to make her more sympathetic. This version of Holmes is a far cry from the person we’re told about in the documentary, The Inventor: Out for Blood in Silicon Valley, that chronicled her rise and fall. Holmes and Evans portray her as some sort of misunderstood savant who functions on another level who doesn’t understand the basics of communication and interactions, making her an easy target for manipulation highlighted by a sequence involving Abbott and Costello’s “Who's on First” bit. There’s a sense by the time Holmes heads to prison, that Fielder grows strangely sympathetic to her plight but is clearly conflicted about the couple’s authenticity. At that point, the documentary morphs into something more aggressively meta and nuanced as he tries to discern the nature of the truth he’s being told and ultimately our ability to determine the truth, we’re being told via any sort of media. Revealing too much about the back half of the film feels counterproductive since a series of situations and revelations take the film in a variety of different directions. You Can See Everything gives you more than enough information to draw a fair number of conclusions but it also questions how you reached those conclusions with an exchange between Nathan Fielder and Amanda Seyfried leaves you wondering if you have, in fact, seen everything.
A
