So, Nathan Fielder just dropped a documentary on Elizabeth Holmes, and it’s already causing a huge stir. The film, called ‘You Can See Everything,’ hits theaters this Friday, and early reviews are through the roof. Critics are calling it not just the movie of the year, but one of the greatest documentaries ever made.
The doc follows Holmes in the lead-up to her 2023 prison sentence and beyond, after she got convicted for scamming investors with her blood-testing company, Theranos. What’s wild is that Fielder and his co-director, Lance Oppenheim, kept this project under wraps for almost four years. It only came to light when it premiered as a surprise at the Telluride Film Festival in September.
Fielder, known for his awkward social experiments in shows like ‘Nathan for You’ and ‘The Rehearsal,’ brings his unique style to this film. Oppenheim, who made ‘Primetime’ with Robert Pattinson, is tight-lipped about the details, wanting viewers to come in fresh without any spoilers.
Now, the reviews are mostly glowing. The Daily Beast’s Nick Schager says it’s an ‘all-time great mind-melter,’ and Vulture is calling it ‘the movie of the year,’ even tagging Holmes as one of the best doc subjects ever. The Guardian gave it five stars, hailing it as a ‘modern masterpiece of deceit’ that’s even more shocking than expected.
Variety and the LA Times note how unconventional it is – far from a standard documentary. TheWrap thinks it uncovers new layers to the Holmes story, while Deadline’s Pete Hammond is impressed by the insane access the filmmakers got to Holmes and her partner, Billy Evans. Vanity Fair says it’s full of twists and shocking reveals. The A.V. Club calls it a ‘stunning reevaluation’ of what docs can do, like a thriller with more turns than you can shake a stick at.
But not everyone’s on the same page. Some critics have issues. The Washington Post’s Shane O’Neill thinks the nearly three-hour runtime is a bit much – ‘a tough watch,’ he says, even giving him a stomachache from the cringe. He warns it’s not for the faint of heart, but still calls it a masterpiece. The New Yorker’s Richard Brody questions Fielder’s approach, saying it feels a bit cruel with those sarcastic moments that embarrass Holmes. He also didn’t love the editing, but still found the film strangely beautiful.
The trailer gives a taste of what’s in store: Fielder shows up at Holmes’s place with a suitcase, planning to live with them while filming. He asks Holmes if she’s worried about him being there all the time, and she’s chill about it. Then he probes Evans, asking if he thought Holmes was scamming him when they met. Evans admits he was 100% worried, but what did she have to gain? Fielder points out Evans is rich – heir to a hotel group – but Evans says he never suspected her of lying. The trailer ends with Holmes talking about how long it took her to be okay with crying in front of someone, and a single tear rolls down her cheek.
All in all, this doc is shaping up to be a must-see, whether you’re into true crime or just want to witness a filmmaking feat. It’s weird, it’s intense, and it’s got everyone talking.
