The documentary "You Can See Everything," co-directed by comedian Nathan Fielder and Lance Oppenheim, offers an unusual and complex portrayal of Elizabeth Holmes, the former Theranos founder who is serving a prison sentence for fraud. Filmed during the final 34 days before Holmes was scheduled to report to prison, the film captures her interactions with Fielder and her romantic partner, Billy Evans, creating an enigmatic narrative that blurs the lines between reality and performance.
The film premiered unexpectedly at the Telluride Film Festival in September and has since drawn attention for its unconventional style and ambiguous tone. Rather than a straightforward account, it unfolds as a psychological interplay between Holmes and Fielder, both described as master manipulators engaged in a subtle battle of influence. Holmes’ prolonged eye contact and unflinching stare serve as a focal point, lending the documentary a hypnotic quality.
Throughout the film, Fielder grapples with Holmes’ contradictory behavior and statements, such as her claim that she has never lied, which leaves him visibly unsettled. The presence of Evans adds another layer of complexity. Portrayed as somewhat evasive and enigmatic, Evans’ role raises questions about the dynamics between him and Holmes and whether he exerts control over her or vice versa. This tension invites viewers to consider the extent of Holmes’ agency versus potential manipulation by those around her.
Critics note that the documentary defies easy categorization, blending elements of cringe comedy, thriller, and romance, while employing a striking visual style that contrasts with the subject’s controversial history. This approach challenges conventional documentary storytelling by emphasizing ambiguity and inviting multiple interpretations rather than delivering clear-cut conclusions.
The film also engages with broader themes about the nature of truth and deception, particularly in the context of modern documentary filmmaking and reality television. Fielder’s work is often characterized by a deliberate blurring of fact and fiction, prompting audiences to question their assumptions about authenticity and performance.
“You Can See Everything” invites viewers to navigate a maze of perspectives, leaving open the possibility that Holmes is either deeply naive or profoundly manipulative. Similarly, Evans’ involvement complicates the narrative, as the film oscillates between portraying him as a controlling figure or a foil to Holmes’s persona. Fielder’s own position—as both observer and participant—adds another dimension, prompting reflection on the ethics and pleasures of being deceived.
Ultimately, the documentary resists definitive answers, instead offering a multifaceted exploration of its controversial subject and the ways in which truth can be constructed, obscured, and performed.