What first seems like a film about Holmes’ last days before going to jail turns out to be a much larger look at the media landscape, toxic tech-biz culture, and something even more sinister. In front of Fielder’s cameras, Holmes tries to be open and honest, at least much more so than her husband. Or, is this too an elaborate act to pull the wool over the eyes of the documentary crew? In trying to understand her, Fielder watches The Dropout with Holmes and Evans to see how she’s been portrayed in the media, and it provokes an emotional reaction over a scene in the Hulu show involving her and her former partner, Ramesh “Sunny” Balwani. Can we trust her tears, or are they a part of the show for the cameras? We may never know, and You Can See Everything isn’t giving out easy answers. It’s built to challenge its viewers into constantly reevaluating what they think they know and what they think they’re seeing.
Fans of Fielder’s work have come to expect the unexpected from the comedian, but even he’s outdone himself with You Can See Everything. Fielder approached television with an absurdist sense of humor, turning the “outside the box” marketing ploys of Nathan For You into a consumer social experiment and taking the concept of practicing for big conversations to surreal heights in The Rehearsal. For the latter’s second season, he became a licensed pilot to test his theory about improving pilot communications, and his advocacy led to real change in the aviation industry. Building on this formula, You Can See Everything utilizes many of the tools and set ups Fielder has used before to stir genuine reactions from willing participants. From his deadpan delivery and probing questions to elaborate recreations of scenes he otherwise can’t film, Fielder goes to extravagant lengths to understand his elusive subject.
For his part, Oppenheim has spent his documentary career following fascinating subjects, some of whom are obsessed with their own self-mythology, a characteristic Holmes shares. She both agonizes over how she’s perceived by the outside world but also gives away that control to others. Evans, on the other hand, is almost constantly trying to control how Fielder and Oppenheim see or interact with her, and the tension between Fielder and Evans adds an entirely new dimension to the story. Oppenheim reunites with a number of his Primetime collaborators, including cinematographer David Bolen and composer Ari Balouzian, to give similarly stylish flourishes, like eye-catching close-ups between Holmes and Fielder, to otherwise mundane domestic scenes.
Despite Fielder’s stated goal for more transparency in You Can See Everything, it’s possible for audiences to leave with more questions than answers, mulled over in conversations that will last long after the movie’s over. Those familiar with Fielder’s habit of playing with reality and Oppenheim’s colorful yet intimate visual style may know what kind of movie they’re buying a ticket to, but even then, it defies convention—You Can See Everything is a stunning reevaluation of what documentaries are capable of. It’s a wild ride, filled with more twists and turns than your average thriller. Like Welles used his camera to play tricks on audiences some 50 years ago, Fielder and Oppenheim use their film to shake up their audience’s understanding of how we believe one another.
Directors: Nathan Fielder, Lance Oppenheim
Starring: Nathan Fielder, Elizabeth Holmes, Billy Evans
Release date: October 16, 2026
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