You Can See Everything: 2026 Festival Screening Guide

You Can See Everything is a 2026 U.S. film from Nathan Fielder and Lance Oppenheim. The film places convicted Theranos fraudster Elizabeth Holmes and her romantic partner, William “Billy” Evans, at the center of an unusually intimate production. Rather than presenting a conventional retrospective, it examines what happens when a camera enters a private home and the subjects participate in shaping the story around them.

Video Highlights:

• The official trailer presents conversations about trust, privacy, wealth, and conflicting perceptions.
• Holmes discusses the experience of being observed while preparing for incarceration.
• The footage emphasizes uncertainty about what is being hidden, performed, or misunderstood.
• The trailer positions the film as an intimate and unsettling portrait rather than a standard case summary.

The film’s premise is built around a striking time frame: Fielder was invited into Holmes and Evans’s home to live with them and begin recording their lives 34 days before Holmes’s incarceration. That arrangement creates the film’s central tension. The camera is not simply observing a completed historical event; it becomes part of an unstable relationship between filmmaker and subjects.

Nathan Fielder is known for work that blurs documentary technique, staged situations, and uncomfortable social observation. Lance Oppenheim brings a documentary perspective associated with intimate access and carefully shaped personal stories. Together, their collaboration gives You Can See Everything a distinctive creative foundation: the film is interested not only in Holmes’s public reputation, but also in the process of constructing a version of her private life.

The film revisits one of the most recognizable stories in Silicon Valley history without treating it as a simple rise-and-fall account. Holmes became widely associated with Theranos, a company that promoted a purported “miracle” medical device before her conviction and prison sentence for fraud. You Can See Everything shifts attention from the public scandal to the private environment surrounding Holmes immediately before incarceration.

That change in perspective creates several overlapping themes:

The trailer’s dialogue reinforces this uncertainty. Questions about what was missed, what may have been concealed, and whether someone has “anything to hide” establish a relationship where affection and suspicion coexist. Those exchanges also connect the personal story to the film’s broader interest in narrative control.

The film’s tone is described as blistering, head-spinning, and frequently hilarious, suggesting that its approach is not purely solemn. Humor may make the viewing experience more disorienting rather than less serious, especially when ordinary domestic interactions exist alongside the consequences of a major fraud conviction.

The title itself can be read as a challenge. Seeing everything is impossible when every image is selected, every conversation is framed, and every participant has reasons to manage their presentation. The film’s central tension comes from that gap between apparent access and actual knowledge.

You Can See Everything is part of the 64th New York Film Festival, presented by Film at Lincoln Center. The festival runs from September 25 through October 12, 2026, and the film is listed in the Spotlight program as a New York Premiere.

The listed event is especially notable because it combines a screening with a Q&A featuring Nathan Fielder and Lance Oppenheim. For viewers interested in how the film was made, the discussion may provide useful context about its secret production, unusual access, and approach to documentary form.

For official availability, consult the Film at Lincoln Center listing for You Can See Everything. Ticket availability can change, so the festival page should be treated as the authoritative source for current showtimes and access information.

The festival setting matters because You Can See Everything is designed for discussion. Its questions about truth, performance, and documentary ethics are likely to continue beyond the closing credits, particularly when the directors are present to discuss their methods.

A productive viewing strategy begins with context but avoids reducing the film to a single verdict about Holmes. Her Theranos history is essential, yet the film’s stated purpose is broader: it investigates how a familiar public figure becomes a camera subject under unusually intimate conditions.

Use the following framework while watching:

A useful discussion should compare three layers:

1. The public record: Holmes’s role in Theranos and her conviction for fraud.
2. The private presentation: Her relationship with Evans and the domestic setting.
3. The constructed film: The editing, framing, questions, and presence of the filmmakers.

These layers do not automatically produce one definitive interpretation. Instead, they create a viewing experience in which the audience must evaluate how evidence, emotion, and performance interact.

The film may be especially compelling for viewers interested in documentary ethics, celebrity narratives, media manipulation, and the relationship between filmmaker and subject. It may be less satisfying for anyone expecting a straightforward chronological explanation of the Theranos scandal.

Because the production was created in secret over four years, the finished work also raises questions about timing and disclosure. The film’s method is part of its subject: viewers are not only watching Holmes and Evans, but also watching a filmmaking process that tests the limits of access.

The film’s official festival page identifies A24 as the distributor and lists the directors, runtime, country, program placement, and screening details. Those facts provide the clearest starting point for understanding the project before interpreting its more ambiguous choices.