by Kornel Toth ’28 on October 22, 2026
A&E - Film & TV
Nathan Fielder has built a career on playing dumb, and in You Can See Everything, the comedian balances that deadpan persona with unapologetic truth-seeking. The result is a riveting, immersive documentary from Lance Oppenheim & Fielder. The film opened in most theaters on Oct. 16. Luckily for us Friars, Providence Place’s Apple Cinemas had early showings on Oct. 15.
The documentary follows Nathan Fielder as he seeks to uncover the truth of Theranos founder Elizabeth Holmes and her partner, Billy Evans, in the 34 days before Holmes must report to the Federal Prison Camp in Bryan, TX. The film itself simultaneously begs the question of whether a documentary can ever achieve the truth it seeks.
The first half of this documentary is what it was marketed as: an unfiltered view into Elizabeth Holmes’ life before she goes to prison. Holmes portrays herself as a misunderstood innocent caught up in forces larger than herself. She insists that she never lied to Theranos’ investors, and that the technology was capable of everything she claimed it was. Holmes’ defense requires nothing short of mental gymnastics and depends on literally everyone misunderstanding “what she was really trying to say.” Fielder not only challenges her claims, but also precisely lays out why her statements were deceptive. Despite this, Holmes never seems to grasp why any of it counts as lying. She has built herself a personal narrative that she appears to wholly believe, creating a tension that never completely resolves.
To those unfamiliar with Holmes, she founded Theranos, a company which promised to completely revolutionize blood testing. Adhering to this promise, the company unveiled a device which they claimed could run hundreds of blood tests from a finger-prick sample. Holmes, at the forefront, raised hundreds of millions of dollars. Yet, in 2015, investigations revealed that the technology did not work as promised and yielded wildly unreliable tests. Because of this, Holmes was convicted of wire fraud and other charges relating to defrauding investors.
However, Holmes is not the only subject of interest. Fielder doesn’t shy away from interrogating Evans, who engages in certain unscrupulous behaviors. He consistently interrupts and controls Holmes, acting more like a controller than an equal within the relationship. At one point, he interrupts an important discussion between Fielder and Holmes’ father, in which a crucial piece of information is briefly addressed and then dropped.
The second half, filmed two years after Fielder’s initial stay in the household, takes a wild, surreal turn. Holmes is now serving her sentence, and questions about the true nature of the couple’s relationship have multiplied. Fielder and Oppenheim bring in a third collaborator to help find answers, and the film’s structure begins to fold in on itself while raising more questions than anyone involved seems to have expected. To reveal anything else would be a disservice to the viewing experience, yet so much of the film cannot be explained without these spoilers. This really is one of those films you simply must see.
The tension between Holmes’s version of the truth and the filmmakers’ refusal to accept it leads Oppenheim & Fielder to continue their investigations, as the documentary itself keeps asking whether its methods can ever bridge that gap. Oppenheim’s offbeat, unconventional approach and Fielder’s singular humor make that question feel urgent.
If Oppenheim established himself as a respectable documentarian and filmmaker through his previous works, You Can See Everything has certainly embedded him within Hollywood’s elite as an award-contending director. Fielder masterfully ensured that this film has comedic high points while maintaining its place as a work of art. You Can See Everything is worth seeing in a theater, and it’s the rare documentary that leaves you doubting the form itself even as you’re gripped by it.