Amy Chozick, a former reporter for The New York Times and current screenwriter and author, has shared her experience intersecting with the new documentary “You Can See Everything,” which centers on Elizabeth Holmes, the convicted founder of Theranos, and her life partner, Billy Evans. The film, directed by Nathan Fielder and Lance Oppenheim, premiered recently at the Landmark Theaters Sunset in Los Angeles.
Chozick’s 2023 profile of Holmes, published shortly before Holmes began her prison sentence for fraud related to the Theranos blood-testing startup, unexpectedly features prominently in the documentary. The film depicts Holmes and Evans reading Chozick’s article on a laptop, focusing heavily on a disputed quote from Holmes about her onscreen portrayals. In the documentary, Evans challenges the reported quote attributed to Holmes—“They’re not playing me. They’re playing a character I created”—suggesting instead Holmes said, “They’re not playing me. They’re playing a character they created.” Holmes agrees on camera, a discrepancy that lies at the narrative's core and bookends the film. Chozick has maintained that her original reporting and transcription were accurate and referred Fielder’s queries to The New York Times’ public relations team, which stood by the published article.
Chozick’s time spent with Holmes and Evans took place in March 2023 at the couple’s rental home in Del Mar, California, where she observed the pair navigating parenthood alongside efforts to recast Holmes’s public image. During her visit, Chozick met Vanessa, a Salvadoran nanny who assisted with child care, but the documentary notably omits the nanny’s presence, presenting Holmes and Evans as largely managing the household themselves. The couple appeared to extend nearly unrestricted access to both Chozick and later to Fielder’s filmmaking team, seemingly aiming to engender sympathy and reshape perceptions following Holmes’s fall from grace.
The profile elicited a mixed response upon publication, with some critics accusing Chozick of producing a sympathetic portrayal, while Holmes and Evans believed the article was unduly harsh. Subsequently, Holmes and Evans sought to engage with Fielder’s documentary and reportedly discussed receiving a share of its profits.
Fielder, known for his comedic and unconventional documentary style, first contacted Chozick in mid-2025 to discuss his project, which involved filming Holmes and Evans in their domestic setting before Holmes entered prison. Chozick described Fielder as likable and persistent, though she ultimately declined an on-camera appearance. She noted the surreal experience of witnessing Holmes’s transformation from the public “girl boss” persona to a more intimate, vulnerable figure during their extended interactions.
The documentary’s tone blends elements of humor and existential inquiry into truth and representation, capturing Holmes and Evans in moments ranging from mundane family life to carefully constructed self-presentation. It also raises questions about authenticity and the ways individuals seek to control their narratives in the public eye.
Chozick reflects on the complex dynamic she observed with Holmes—who once led Theranos with intense ambition—and the strange reversal of power now exerted through personal charisma and access. Ultimately, “You Can See Everything” offers audiences a layered portrait of Holmes’s “vortex” of influence, mediated by the filmmaking lens and the competing realities of truth and perception.