You Can See Everything runtime: 174-Minute Film Guide

The You Can See Everything runtime is 174 minutes, giving the 2026 documentary a substantial theatrical length. The film is directed by Nathan Fielder and Lance Oppenheim, produced by both filmmakers alongside Tatiana Bears, Maggie Ambrose, and Jack Davis, and distributed by A24.

The documentary centers on Elizabeth Holmes, the founder of the defunct health technology company Theranos, and her partner Billy Evans. The filmmakers document the couple’s life beginning in the weeks before Holmes starts serving a United States federal prison sentence for defrauding investors. The project later follows them over a period of three years.

Video Highlights:

• The trailer introduces the film’s observational documentary approach.
• Elizabeth Holmes and Billy Evans discuss trust, privacy, and public perception.
• Nathan Fielder appears on camera as the filmmakers become part of the story.
• The footage presents an intimate domestic setting rather than a conventional interview format.

The length matters because the film is structured around extended access and evolving relationships rather than a short historical overview. Its subject is not presented only through archival material or a standard succession of talking-head interviews. Instead, the filmmakers remain close to Holmes, Evans, their home life, and the tension created when private behavior becomes part of a public film.

You Can See Everything premiered as a secret screening at the 53rd Telluride Film Festival on September 6, 2026. Festival attendees did not know the identity of the film in advance, and mobile devices were surrendered to reduce the risk of leaked information. A24 announced the theatrical release on the same day.

The United States theatrical release is scheduled for October 16, 2026. The available information identifies A24 as the distributor, but it does not confirm a streaming debut, digital rental date, international release schedule, or home-media launch.

The safest way to track showtimes is through A24’s official channels and local theater listings after tickets become available. Release details can change, especially for festival films that move from a limited opening toward a broader theatrical rollout.

For the latest confirmed promotional material, viewers can use the official A24 trailer on YouTube. The trailer provides the clearest available preview of the film’s tone and central relationships.

The film marks Nathan Fielder’s feature directorial debut. He co-directs with Lance Oppenheim, whose role places the documentary within a collaboration focused on sustained access and unusual interpersonal dynamics.

The original plan was for Fielder to remain behind the camera. However, his interactions with Holmes and Evans became sufficiently unusual that the filmmakers decided to include him in the finished film. This changes the relationship between observer and subject: the documentary is not only about the household, but also about what happens when the camera crew becomes an active presence within it.

The production began after Fielder and Oppenheim learned through a friend that Holmes was seeking someone to document her life. Fielder had already read John Carreyrou’s Bad Blood and believed that Holmes’s story had received extensive media coverage. The filmmakers became interested in exploring her perspective after she had withdrawn from public attention.

The crew initially spent 34 days living with Holmes, Evans, and their children before Holmes began her prison sentence. A24 gave the filmmakers permission to continue without a fixed deadline or an obligation to produce a finished film. This open-ended arrangement allowed the project to develop over three years.

The available material presents You Can See Everything as a documentary about the gap between appearance and understanding. Conversations in the trailer repeatedly return to questions of honesty, wealth, suspicion, love, and emotional exposure. The film’s title points toward total visibility, while the dialogue suggests that seeing someone closely does not necessarily make that person easy to understand.

Several themes stand out:

• Privacy and exposure: Holmes and Evans invite a film crew into their home, creating an unusual level of access.
• Trust and suspicion: The trailer raises questions about whether people can recognize deception when they are emotionally involved.
• Performance and reality: The film explores how behavior changes when private life becomes recorded and edited.
• Public history versus personal perspective: Holmes’s legal and business history is widely known, but the documentary focuses on her life after public retreat.
• The limits of observation: Even intelligent observers may disagree about what is happening in the same environment.

The tone appears to combine intimate reality filmmaking with deadpan discomfort and psychological uncertainty. Early critical responses highlighted the filmmakers’ close access and Fielder’s role as an on-camera interviewer. One published description characterized the film as a reality-TV-like hangout movie that overlaps reality, performance, deception, and mental illness.

That description should be understood as a tonal reference rather than a simple genre label. You Can See Everything is presented as a documentary film, but its structure may feel different from a conventional investigative documentary because the filmmakers’ presence remains visible within the story.

Because the film’s scheduled United States release is October 16, 2026, viewers can use the following checklist to prepare without relying on unconfirmed distribution information.

The film’s production history also gives viewers a useful framework. The crew did not begin with a fixed deadline or a guaranteed final release. Instead, the project continued because the filmmakers found the household’s contradictions compelling. Crew members reportedly disagreed about what was happening, which became an important reason to keep following the story.

That uncertainty is likely central to the viewing experience. Rather than using a single authoritative narrator to explain every event, the documentary appears to place viewers inside a situation where people are trying to decide what they are seeing. The result may be more interpretive than explanatory.