A documentary exploring the story of Elizabeth Holmes, the former biotechnology entrepreneur convicted of fraud, has become an unexpected box office success in the United States, drawing significant audiences and sparking diverse reactions. Directed by Lance Oppenheim and Nathan Fielder, the three-hour film has seen its theatrical run expand rapidly since its announcement roughly two months ago.

Titled You Can See Everything, the documentary delves into the complex narrative surrounding Holmes, whose Theranos company collapsed amid scandal. The film combines investigative insight with elements of performance and observation, offering a mix of dark comedy and dramatic tension. Its approach has resonated broadly, leading to a 25 percent increase in revenue during its second weekend, bringing in an additional $19.5 million. Overall, it has surpassed $45 million in North America, positioning it among the most financially successful nonfiction releases affiliated with the distribution company A24.

Screenings of the film in venues such as New York City’s AMC Empire have attracted a predominantly youthful audience, primarily in their twenties, many of whom described themselves as infrequent moviegoers. The documentary’s appeal appears tied in part to co-director Nathan Fielder, known for his previous television work, and Holmes’s notoriety, boosted by the recent television series The Dropout, which fictionalizes her story. Viewers cited social media buzz and viral clips as key motivators for seeing the film in theaters, emphasizing the desire to experience the documentary firsthand rather than online.

Audience reactions during the screenings varied, with some moments eliciting laughter and others prompting discomfort or silence. The film balances scenes of levity, particularly through Fielder’s understated commentary, alongside more somber and tense interactions involving Holmes and those close to her, including her partner Billy Evans, whose portrayal drew strong reactions. The documentary’s midpoint shift, involving the introduction of another prominent figure, reportedly surprised many viewers despite extensive online discussion of the film.

Critics and viewers alike have noted the film’s ability to sustain a tone that oscillates between comedy and menace, drawing both empathy and skepticism towards its central figure. Despite a lack of traditional broad polling metrics such as CinemaScore, post-screening surveys indicate highly positive responses, contributing to projections that the documentary could surpass $100 million in North American box office receipts—a milestone only recently achieved by a few films in the genre.

The success of You Can See Everything, alongside other notable releases this season, raises questions about evolving audience preferences and the increasing permeability between television and cinema formats. While it remains unclear whether this signals a broader trend towards acceptance of longer, complex documentary narratives in theaters, the film’s performance suggests a growing appetite among viewers for content that challenges traditional genre boundaries and viewing habits.