In its first two weeks of release, the documentary "You Can See Everything," directed by Nathan Fielder and Lance Oppenheim, has grossed $45 million at the box office. The film, which explores the story of Elizabeth Holmes, the founder of Theranos convicted of fraud, has received widespread acclaim from critics and audiences, earning nearly perfect scores on review aggregator sites. The documentary’s unconventional approach and strong public interest have sparked discussions about its potential for Academy Award recognition, including a possible campaign for best picture.
Representatives from the film’s distributor, A24, have declined to comment on Oscar prospects. However, sources familiar with the studio’s strategy indicate plans to position the film for nominations in categories such as best picture, best supporting actress, and best documentary, with additional attention in editing, cinematography, score, and directing categories. Amanda Seyfried’s portrayal of Holmes in the film’s re-enactments could mark a historic moment if she receives a nomination in the supporting actress category, as no performer has previously been nominated in that category for a role in a documentary.
Despite its commercial success and cultural impact, "You Can See Everything" faces challenges within the documentary branch of the Academy of Motion Picture Arts and Sciences, which has traditionally been wary of awarding films that achieve mainstream popularity or use nontraditional formats. No documentary has ever been nominated for best picture. The documentary branch, comprising roughly 770 members and recently expanded to include more international and younger members, is known for prioritizing certain values that may not align with commercially successful or celebrity-driven works.
Filmmakers and industry insiders express divided opinions about the film’s chances. Joe Berlinger, an Oscar-nominated documentarian, noted an apparent bias within the documentary branch against commercially successful films and those featuring celebrities or established directors. He also acknowledged the controversial and unconventional style of "You Can See Everything" as a potential factor influencing voters. Berlinger expressed cautious optimism that the documentary’s box office success might overcome some of these obstacles.
Some in the documentary community question whether the film fits the traditional understanding of the genre. Nathan Fielder’s style, characterized by a blend of reality, performance art, and deadpan humor, blurs the lines between documentary and fiction. Critics argue the film creates a complex dynamic between the director and Holmes, making it difficult to discern the degree of authenticity or manipulation involved. Documentarian Marina Zenovich described the project as a creation of a "whole new genre," emphasizing its departure from conventional documentary storytelling.
Concerns remain within the documentary branch that widely popular films might skew broader Academy voting if nominated, possibly influencing the selection process. Industry sources, speaking anonymously, suggest that this apprehension contributes to the branch’s cautious approach toward high-profile documentaries. The Academy has not issued a comment on these matters.
Over recent years, the Academy has recognized commercially successful documentaries such as "March of the Penguins" (2005), "Amy" (2015), "Free Solo" (2018), and "Summer of Soul" (2021). However, the documentary branch’s historical tendency to overlook popular films underscores the ongoing tension between artistic priorities and commercial appeal as "You Can See Everything" navigates the awards season.