A new documentary titled “You Can See Everything,” directed by Nathan Fielder and Lance Oppenheim, delves into the final weeks before Elizabeth Holmes, the founder of Theranos, began serving an 11-year prison sentence in Bryan, Texas. The film offers unprecedented access to Holmes and her fiancé, Billy Evans, capturing an intimate portrait of the controversial figure during this pivotal period in 2023.
Holmes, once heralded as a visionary who claimed her startup had developed a revolutionary blood-testing device, was convicted of defrauding investors after the technology was revealed as flawed and ineffective. The documentary is not a retelling of the Theranos scandal; rather, it focuses on exploring the complex nature of truth and perception as embodied by Holmes’s behavior and statements in the days leading to her imprisonment.
The filmmakers lived with Holmes and Evans in a San Diego beach house, capturing raw and sometimes unsettling moments. Holmes exhibits a striking combination of wide-eyed sincerity and detachment, leaving viewers and the filmmakers themselves uncertain whether she is genuinely misguided or intentionally deceptive. At one point, Holmes shows the filmmakers the infamous Edison device and insists it still works, framing its failures as temporary setbacks rather than definitive faults. She also maintains that she has never knowingly lied, a claim made with apparent earnestness that challenges observers to reconcile their knowledge of her conviction with her self-presentation.
Billy Evans, Holmes’s fiancé and a prominent figure in the documentary, is portrayed as increasingly narcissistic and unsympathetic. His behavior—ranging from controlling interactions with Holmes to self-indulgent displays—complicates the narrative and raises questions about the dynamics between the couple. The film’s tone shifts in its second half, employing innovative reenactments and metafictional techniques to convey the psychological and emotional complexities of Holmes’s last days before incarceration.
Critics note that the documentary resists definitive judgments, instead inviting viewers to consider how subjective experience shapes notions of truth. It illustrates the disparity between factual reality and personal belief, especially relevant in an age dominated by social media and curated narratives. Holmes’s unwavering belief in her own version of events, despite overwhelming evidence to the contrary, underscores the film’s central inquiry into the nature of authenticity and deception.
The presence of Holmes’s young children adds an emotional dimension, highlighting the personal costs of her conviction and imprisonment. Yet the film avoids offering a clear resolution, instead presenting a nuanced, at times disorienting study of a figure both widely vilified and enigmatically human.
“You Can See Everything” premiered nationwide in October 2026 and has sparked discussions on the boundaries between truth, memory, and self-perception, leaving audiences to grapple with who Elizabeth Holmes really is—or believes herself to be.