The title is a promise and a joke. In April 2023, thirty-four days before Elizabeth Holmes reported to federal prison, she and her partner Billy Evans invited Nathan Fielder and Lance Oppenheim to film their lives. The filmmakers kept going for three years. What emerges is not a Theranos explainer but a portrait of performance, belief and self-deception so slippery that the crew themselves could not agree on what they were watching.
It is long, uncomfortable, funny in the way only Fielder can be funny, and utterly compelling. It may be the documentary of the year.
You Can See Everything promises total access and delivers something far stranger: the impossibility of truly knowing anyone.
Movie at a Glance
- US cinemas: 16 October 2026 (select cinemas); expanding 23 October
- UK and Ireland cinemas: 20 November 2026
- Runtime: 2 hours 54 minutes
- Directors: Nathan Fielder and Lance Oppenheim
- Featuring: Elizabeth Holmes, Billy Evans, Nathan Fielder and Amanda Seyfried
- Music: Ari Balouzian
- Distributor: A24
- Genre: Documentary
Viewer Match
- Best for: Documentary lovers, fans of Nathan for You and The Rehearsal, and anyone fascinated by the Theranos story.
- Maybe skip if: Long, talky films test your patience, or Fielder’s awkward style makes you squirm in the wrong way.
- Mood and pace: Intimate, deadpan and slowly destabilising.
- Cinema or streaming?: Cinema: the shared discomfort of an audience is part of the experience.
- Spoiler level: None beyond widely reported facts of the Holmes case.
Access Without Answers
Fielder and Oppenheim have extraordinary access, and the film’s brilliance lies in what they do with it. Rather than interrogating Holmes for a confession, they observe—the routines, the presentation, the small inconsistencies—and let the audience feel the vertigo of trying to read someone who may be performing even for herself.
Fielder’s presence on camera, initially unplanned, becomes the film’s engine. His deadpan questioning turns gradually into self-questioning, as the filmmakers confront their own assumptions about honesty, sympathy and manipulation.
The Rehearsal Meets Reality
Anyone familiar with Fielder’s television work will recognise the uneasy comedy of social awkwardness pushed to breaking point. Here it carries real weight. The appearance of Amanda Seyfried, who played Holmes in The Dropout, is a stroke of conceptual mischief that deepens the film’s questions about performance and identity.
The relationship with Billy Evans, which grows strained as filming continues, adds another layer of tension: who is controlling this story, and to what end?
A Long Sit, Richly Rewarded
At nearly three hours, the film asks for patience and does not hurry its revelations. Some viewers will find the pace demanding. But the length serves the method: the longer you watch, the less certain you become, and that slow erosion of certainty is precisely the point.
It is a singular piece of nonfiction filmmaking—a collision between a director and a subject who both understand the power of a performance.
Spoiler-Free Verdict
You Can See Everything is an absorbing, haunting and blackly funny documentary that turns unprecedented access to Elizabeth Holmes into a profound study of truth and performance. Demanding in length, extraordinary in effect.
- Performances: 9/10
- Direction: 9.5/10
- Screenplay: 9/10
- Score: 8.5/10
- Cinematography: 8.5/10
- Entertainment Value: 9/10
- Overall score: 9/10
Star rating: 4.5/5
Verdict badge: Must Watch
One-line verdict: A destabilising, one-of-a-kind documentary that leaves you questioning everything you thought you could see.
Watch the Official Trailer
The official trailer may reveal more than this spoiler-free review.
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