A24 announced the theatrical release of “You Can See Everything,” a documentary directed by Nathan Fielder and Lance Oppenheim about convicted Theranos founder Elizabeth Holmes. The film had its debut at Telluride Film Festival as a secret screening that generated significant attention and discussion among attendees and critics. Holmes granted the filmmakers access to her home over a three-year period beginning 34 days before she reported to prison, with the documentary exploring themes of authenticity and performance.
Fielder, known for his innovative television work including “The Rehearsal,” makes his feature directing debut with the project. He is paired with Oppenheim, whose nonfiction documentaries include “Some Kind of Heaven” and “Ren Faire.” The collaboration brings together two artists with established interests in how cameras alter their subjects. The film’s technical crew includes cinematographer David Bolen, editor Adam Locke-Norton, and composer Ari Balouzian, whose work creates a noir atmosphere within the domestic setting.
The 174-minute documentary employs a distinctive visual approach, utilizing 4:3 framing and long zoom lenses to capture footage in the Holmes family home. Rather than following conventional true-crime documentary conventions, the film operates as an experiment in viewer perception regarding honesty and performance. Fielder appears on camera as an active participant, positioning himself as a destabilized center point as he navigates whether his subjects are being truthful.
The Holmes story has attracted significant Hollywood interest in recent years, with prior projects including Alex Gibney’s 2019 documentary “The Inventor” and Hulu’s “The Dropout” series. However, industry observers note the unique approach taken by Fielder and Oppenheim. Awards consideration presents both opportunities and challenges, as documentary voters have historically shown mixed reception to participatory and comedy-inflected nonfiction. A24 is reportedly considering positioning the film as a best picture contender rather than limiting its awards push to the documentary category. This strategy reflects the studio’s broader slate of potential contenders this awards season.
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