You Can See Everything what is it about: 2026 Film Guide

You Can See Everything is a 2026 American documentary film about Elizabeth Holmes, the founder of the failed health technology company Theranos. Directed by Nathan Fielder and Lance Oppenheim, the film follows Holmes, her partner Billy Evans, and the filmmakers as they navigate life before and after Holmes begins serving a federal prison sentence for defrauding investors.

The project is not framed as a conventional dramatized biography. Instead, the filmmakers received unusually close access to Holmes and Evans, including time inside their home with their children. The result is a documentary built around observation, uncomfortable conversations, and the question of whether intimate access necessarily produces a clear understanding of its subject.

Video Highlights:

• The trailer introduces the film’s focus on Holmes, Evans, and Nathan Fielder’s unusual access.
• The footage emphasizes tension between personal trust and public allegations.
• The documentary’s tone blends serious subject matter with deadpan, awkward interactions.
• The central mystery is whether the filmmakers can understand what is happening inside the household.

The film’s premise begins shortly before Holmes enters prison, but its production continues over a much longer period. The filmmakers reportedly followed the couple for three years, allowing the documentary to move beyond a single news cycle or courtroom moment.

The story begins when Holmes and Evans invite Fielder and Oppenheim to document their lives in the weeks before Holmes reports to prison. The crew spends 34 days at the couple’s home before continuing to follow them over the next three years.

This setup gives the documentary two connected perspectives. The first is public and historical: Holmes is already known for the rise and collapse of Theranos, the company that claimed a small blood sample could provide extensive health information. The second is private and immediate: the film observes Holmes as a partner, parent, and person preparing for incarceration.

The contrast creates the film’s primary tension. Viewers enter with knowledge of the Theranos scandal, but the documentary spends much of its time examining how Holmes presents herself in ordinary domestic situations. The filmmakers must interpret conversations, silences, emotional reactions, and contradictions rather than simply reconstructing the company’s history.

The filmmakers initially planned for Fielder to remain behind the camera. However, his interactions with Holmes and Evans became significant enough that he was included in the finished film. That choice changes the documentary’s structure: the audience is not only watching Holmes, but also watching the filmmakers test their own assumptions.

The project also reflects the difficulty of securing participation from people connected to Holmes’s past. Several individuals who knew or worked with her reportedly declined to appear. As a result, the documentary’s perspective is shaped heavily by the household and the filmmakers who were granted access.

The central on-screen figures are Elizabeth Holmes, Billy Evans, and Nathan Fielder. Holmes is the documentary’s subject, while Evans appears as her partner during the period covered by the film. Fielder serves as both director and participant, creating a complicated relationship between observer and observed.

Lance Oppenheim co-directs the film and shares responsibility for shaping its observational approach. The production team includes Tatiana Bears, Maggie Ambrose, and Jack Davis as producers, with A24 distributing the finished documentary.

The film’s creative identity comes from the combination of serious investigative context and Fielder’s characteristically uncomfortable screen presence. His involvement can make ordinary interactions feel strange, while Oppenheim’s documentary approach keeps attention on the household and its changing dynamics.

A24 gave the filmmakers permission to continue developing the project without a fixed deadline or obligation to release the footage. That flexibility appears important to the film’s long-term structure. Rather than forcing the material into a short production window, the team could observe how relationships and circumstances changed over time.

You Can See Everything premiered as a secret screening at the 53rd Telluride Film Festival on September 6, 2026. Attendees did not know the film’s identity in advance, and mobile devices were surrendered to help prevent leaks. The same day, A24 released a teaser and announced the theatrical release plan.

The scheduled United States theatrical release is October 16, 2026. The available release information identifies the film as an English-language production from the United States with a running time of 174 minutes.

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

Reviews have particularly emphasized the film’s access to Holmes and Fielder’s deadpan role as an on-camera interviewer. One critical description characterizes the documentary as a reality-TV-like psychodrama that overlaps performance, deception, and uncertainty. That response reflects the film’s central strategy: it creates tension through behavior and context instead of relying only on explanatory interviews.

For current release information, readers can consult the You Can See Everything overview on Wikipedia, which lists the festival premiere, A24 distribution, production credits, and theatrical date.

You Can See Everything is best understood through several connected themes. The first is credibility: Holmes’s public history makes every private interaction carry additional meaning. The second is access: the film asks whether living with a subject produces insight or merely creates new ambiguity.

The documentary also examines performance. Holmes is not simply being interviewed in a studio; she is observed in domestic spaces, around her partner, and during a major transition in her life. At the same time, Fielder’s presence reminds viewers that the camera is not neutral. The filmmakers influence the environment they are recording.

The film’s long runtime supports this gradual approach. At 174 minutes, it has room to develop patterns instead of compressing the story into a short explanation of Theranos. Viewers looking for a conventional scandal recap may find the structure indirect, while audiences interested in documentary ethics and human behavior may find that ambiguity central to the experience.