You Can See Everything documentary: Release Guide

You Can See Everything is a 2026 American documentary directed by Nathan Fielder and Lance Oppenheim. The film follows Elizabeth Holmes, the former Theranos founder, and her partner Billy Evans as they invite a film crew into their lives around the period before Holmes began serving a federal prison sentence.

The project combines direct access, observational filmmaking, and uncomfortable conversations. Rather than revisiting the Theranos story through a conventional investigative structure, the documentary focuses on Holmes and Evans in their home environment. The filmmakers continue following the couple over three years, creating a portrait shaped by domestic routines, public history, and competing interpretations of what is happening on camera.

Video Highlights:

• The teaser presents a tense exchange about honesty, deception, and personal identity.
• Nathan Fielder appears in an on-camera role after initially planning to remain behind the camera.
• The film’s tone suggests an observational documentary built around ambiguity and uncomfortable access.

The documentary begins with Holmes and Evans inviting Fielder and Oppenheim to document their lives during the weeks before Holmes entered federal prison. The crew lived with the couple and their children for the 34 days leading up to the start of her sentence.

That access gives the film a highly personal setting. The camera is not limited to interviews or public appearances. Instead, the filmmakers observe life inside the home and the ways Holmes and Evans respond to difficult questions, private tension, and the presence of a film crew.

The film’s central perspective also changed during production. Fielder originally intended to stay behind the camera, but his interactions with Holmes and Evans became significant enough that the filmmakers included him on screen. His presence adds another layer to the documentary: the audience is watching not only the subjects, but also the process of trying to understand them.

The production was allowed to develop without a fixed deadline or an obligation to release a finished film. That arrangement gave Fielder and Oppenheim time to determine whether the footage formed a meaningful documentary. The project became compelling when members of the crew reached different conclusions about the household and its dynamics.

This approach helps explain the film’s unusual tone. It is not presented as a simple factual review of Theranos. Instead, it examines the distance between public reputation, private behavior, performance, and interpretation.

The documentary’s production history is closely tied to the filmmakers’ access to Holmes and Evans. Fielder had previously read material about the Theranos scandal, but he became interested in Holmes’s perspective after she had withdrawn from public attention.

Fielder and Oppenheim learned that Holmes was looking for someone to document her life. After contacting her, they developed a project that began shortly before her prison sentence and expanded into a longer period of observation.

The credited team combines documentary filmmaking with a deliberately controlled production environment. David Bolen’s cinematography, Adam Locke-Norton’s editing, and Ari Balouzian’s music support a feature-length work that depends on mood, duration, and conversation as much as on factual exposition.

For viewers familiar with Fielder’s deadpan style, his presence may be especially important. The teaser presents dialogue centered on whether a person is being honest, which aligns with the documentary’s broader interest in perception and trust. The film does not require viewers to accept a single interpretation of every exchange.

You Can See Everything premiered as a secret screening at the 53rd Telluride Film Festival on September 6, 2026. Attendees reportedly did not know which film they would see and surrendered mobile devices to help prevent leaks.

A24 announced the theatrical release on the same day as the premiere. The planned United States release date is October 16, 2026. This makes the Telluride screening an early festival presentation, while the October date serves as the wider theatrical launch currently identified for the film.

Early critical response has been strongly positive. The available review information lists a 100% approval rating on Rotten Tomatoes from 10 reviews, with an average rating of 9.5 out of 10. Metacritic lists a score of 95 out of 100 from seven critics, categorized as universal acclaim.

Early reactions highlight the film’s close access to Holmes and Fielder’s deadpan role as an interviewer. One description characterizes the documentary as a reality-based psychodrama that overlaps performance, deception, and uncertainty. That framing helps distinguish the film from a standard corporate scandal documentary.

For the latest theatrical information, viewers can check the A24 film listing and the You Can See Everything reference page. Theater availability may vary by location after the announced October release.

The strongest way to understand the documentary is to watch its layers together. The film is about Holmes and Evans, but it is also about the crew’s attempt to interpret what they see. Conversations about sincerity and deception are not isolated moments; they connect to the larger question of whether a camera can produce clarity or simply record more ambiguity.

Use the following checklist before or after viewing:

The film may appeal to viewers interested in documentaries about public scandals, media performance, and unusual filmmaker-subject relationships. It is also a notable feature for followers of Nathan Fielder and Lance Oppenheim because both directors use access and discomfort as central storytelling tools.

The documentary’s subject matter is serious, but its presentation is not purely conventional. Viewers should be prepared for moments that feel awkward, funny, tense, or difficult to categorize. That shifting tone is part of the film’s design and helps explain why early reviews describe it as a hybrid of documentary observation, reality television, and psychological drama.