The documentary “You Can See Everything,” directed by Nathan Fielder and Lance Oppenheim, has officially secured a release date for audiences in the United Kingdom and Ireland. The film is scheduled to arrive in cinemas on November 20, with A24 handling its self-distribution.
Shot just one month before Elizabeth Holmes began serving an 11-year prison sentence for defrauding investors, the project provides a close-up view of the Theranos founder’s life during that final period before incarceration. The film previously made its debut as a surprise screening at the Telluride Film Festival in September, where it received critical acclaim and generated Oscar buzz. It subsequently screened at the New York Film Festival and is set to open in U.S. theaters on October 16.
According to the official synopsis, Holmes invited the filmmakers to document her every move thirty-four days prior to her imprisonment, resulting in what was described as a “mind-bending three-year journey into the abyss.”
During a Q&A session at the New York Film Festival, Fielder, known for “The Rehearsal” and “Nathan for You,” explained how the collaboration came to be. Oppenheim, who recently made his narrative directorial debut with “Primetime,” had become friends with Fielder and recalled that Holmes had contacted A24 regarding someone to film her final days. A24 is the studio behind both “Primetime” and “The Rehearsal.”
Fielder revealed that he had long been fascinated by Holmes. After meeting her, he described a conflicting internal dialogue. “When I met her, I remember having this weird experience where she seems so genuine at times,” Fielder said. “But then I’m like, ‘no,’ and clocking and tracking my thoughts and being like, ‘Okay, I know she’s a liar.’ It was a weird mental thing.”
The project evolved quickly, leading Fielder to move into Holmes’ home, where she lived with her partner, Billy Evans, and their two young children. Reflecting on the unusual living situation, Fielder admitted the experience remained strange to him.
“I cannot tell you how weird it was that we were there,” Fielder said. “Truly, to this day, we’re still like — anyways, sorry. I wouldn’t think I’d be the person you would want for your final period. I’m a nice person, I do believe, but I’m not the most comforting. You know what I mean? I think you know.”
I need to know more about Billy Evans’ role in all this. His presence in the home sounds like a wild dynamic to document.
Wait, did he literally move into her house? That level of commitment is terrifying and fascinating at the same time.
Love how Fielder is perfect for this. The psychological layering must be insane given his usual style.