A new documentary titled “You Can See Everything” offers an unconventional and unsettling look into the life of Elizabeth Holmes, the founder of the now-defunct health technology company Theranos who was convicted of defrauding investors. Co-directed by Nathan Fielder and Lance Oppenheim, the film captures an extended visit with Holmes and her fiancé, Billy Evans, during the weeks leading up to her sentencing.

Fielder, known for his deadpan style and experimental approach to documentary filmmaking, was invited by Holmes and Evans to film in their home. Neither appeared to be familiar with Fielder’s previous work, which often blends performance art with reality in probing social and business dynamics. The filmmakers explore the complex relationships and power structures at play, particularly the troubling dynamic between Holmes and Evans, who is portrayed as controlling while Holmes seems acquiescent. The film leaves viewers to question how much of what they see is genuine and how much may be shaped by the presence of the camera.

The documentary resists clear categorization, blurring the lines between fiction and nonfiction. It invites the audience to reflect on the nature of truth and belief, challenging conventional documentary techniques through its narrative choices and form. Fielder and Oppenheim use a deliberate ambiguity, raising more questions than they answer, including the extent to which scenes may be scripted or spontaneous.

“You Can See Everything” also engages with the cultural aftermath of Holmes’s downfall, referencing “The Dropout,” the 2022 Hulu miniseries about Holmes that stars Amanda Seyfried. At one point, Fielder films Holmes and Evans watching the dramatization, during which they express disdain for the portrayal.

Throughout the film, Holmes remains an enigmatic figure—her wide-eyed demeanor leaving her open to interpretation as either a narcissist exploiting her situation or a trusting individual caught in complex circumstances. Evans, in contrast, is depicted more straightforwardly as a manipulative presence. The filmmakers’ evolving perception of Evans underscores much of the documentary’s tension.

The latter portion of the film marks a departure from typical documentary expectations, creating a disorienting “hall of mirrors” effect that challenges viewers' assumptions about reality and representation. “You Can See Everything” is a provocative work that pushes the boundaries of documentary storytelling, leaving audiences with a sense of uncertainty about what they have witnessed and the nature of truth itself.