A new documentary offering an extensive look at Elizabeth Holmes, the former Theranos CEO, has sparked widespread discussion since its debut at the Telluride Film Festival last month. Titled "You Can See Everything," the nearly three-hour film captures Holmes in the weeks before she begins serving an 11-year federal prison sentence for defrauding investors. The documentary achieved the strongest opening weekend for a documentary since Michael Moore’s "Fahrenheit 9/11" in 2004, grossing $15 million at 855 theaters.
Directed by Nathan Fielder, known for his unconventional nonfiction projects like the television series "The Rehearsal," the film follows Holmes and her partner, Billy Evans, as they invite Fielder and fellow director Lance Oppenheim into their home for an extended period. Fielder even stayed in their guest room while filming, creating a unique and often chaotic environment documented on screen.
The film delves into the blurred lines between reality and fiction, exploring Holmes’s claims about the Theranos technology and the nature of truth itself. Viewers see Holmes maintain her assertions about the company’s blood-testing products despite her conviction. Fielder, who serves as both participant and observer, grapples with understanding and portraying Holmes’s perspective. The dynamic between Fielder, Holmes, and Evans is marked by moments of awkwardness, humor, and confrontation, raising questions about manipulation, authenticity, and motive.
The documentary also features actress Amanda Seyfried, who previously portrayed Holmes in the television series "The Dropout." Seyfried appears to reflect on her role as Holmes while engaging with the real subject, adding a meta-textual layer to the narrative. Her presence highlights the challenges of representing a living individual whose story continues to evolve publicly.
Audiences have responded strongly to the film’s unique tone, which blends deadpan humor and serious inquiry. Screenings reportedly prompted laughter as well as audible gasps, with many viewers noting the discomfort and unpredictability that Fielder introduces. The film's approach to truth remains deliberately ambiguous, encouraging the audience to question how much of what is presented is genuine.
Critics and viewers alike have commented on the portrayal of Billy Evans, whose controlling and intense behavior adds complexity to the depiction of Holmes’s support system. Debates have surfaced around the extent to which Evans or Holmes is the principal manipulator in their relationship.
The documentary has been compared to other works that examine the interplay between reality and performance, such as Abbas Kiarostami’s "Close-Up," but many find its hybrid form and existential inquiries especially difficult to categorize. While some emerge with increased sympathy for Holmes, others emphasize the juridical conclusion of her guilt.
Ultimately, "You Can See Everything" leaves viewers with lingering uncertainty about the nature of truth, the reliability of its subjects, and the mechanics of storytelling itself. The film’s unusual blend of documentary, reenactment, and performative interaction provokes reflection not only on Holmes’s story but also on the broader challenges of capturing reality on film.