Directors Lance Oppenheim (Primetime) and Nathan Fielder (The Rehearsal) spent three years making a documentary about disgraced Silicon Valley entrepreneur Elizabeth Holmes and somehow found an even bigger villain in this thought-provoking documentary examining agency, public perception vs. the truth.
YOU CAN SEE EVERYTHING (2026)
★★★★ & 1/2 ★ of ★★★★★ stars
Elizabeth Holmes was Silicon Valley’s next big thing. Her stat-up, Theranos, short for therapy + diagnosis, claimed it could revolutionize the laboratory testing industry. LabCorp and SonoraQuest were the undisputed leaders in this field, running expensive blood testing by taking vials of blood from patients and charging a lot to run serumtests for everything from HIV, glucose levels, drug tetsing and more. She claimed her machine, nicknamed the Edison, could for one drop of blood, run all the same tests in a box the size of a microwave oven. This made her the youngest self-made female billionaire in history. This all claimed crashing down once it was revealed that Holmes didn’t actually succeed in making this machine and was indicted and convicted fo fraud. Holmes was set to go to prison for an 11 year sentence in 2023, at which point Nathan Fielder enters the scenario.
With just 34 days until she is to surrender to begin her prison sentence, Fielder is contacted by Holmes and her husband, entrepreneur Billy Evans, to document everything about Holmes leading up to her release under an idea called radical transparency. Evans claims he sees Fielder, a comedian known for his elaborate relaity based performance art scenarios, as an “ouy of the box thinker” andsees him as the ideal person to interview Holmes, who now goes by Liz, and Evans about their lives and the incredulous attempt to revive Theranos they’re spearheading.
On the surface, this sounds dry as toast and maybe something up 60 Minutes alley. But Fielder and Oppenheim dive in as Fielder asks Holmes how he believes she is guilty of this fraud and not a believable person. What ensues is a bizarre exploration of Holmes and Evans’ relationship and one where maybe Holmes isn’t the villain we thought she was because Evans might be the most sociopathicn human ever captured on film in this 3 hour long film. This film makes you question a lot about Holmes. Is she really not concerned about what she did to people or is she just extremely way too comfortable just abdicating responsibility of her life and decisions to other men. We meet her father who seems to have started a pattern that continues with Sunny Balwani, her partner in Theranos and now extends to Evans, a scion of a wealthy family who seems to be using the documentary as a launchpad for a new form of Theranos and planting the seeds for controlling Holmes’ voice and image once she goes to prison. He tweets as her from her personal account and sees nothing wrong with not consulting her since she always agreed with him. He builds a lifelike AI avatar of her that he programs from a life-sized screen in his home and can make the virtual doppelganger of Holmes say whatever he wants in her cloned voice and image. Fielder questions how comfortable Holmes is with this and Evand replies that she doesn’t need to know because her goal with their love is to build monuments to him no matter what.
Therein lies what makes the documentary fascinating. Holmes is a victim, but she is still guilty of her crimes and is unrepentant about it, but Evans is clearly manipulating her to his own ends. But the film even has us as the audience questioning if that isn’t also by design. The film’s twists in its third act are quick and at times monstrous. We get a real view of the entitled nature of rich people and how they exist in their own bubble away from humanity while claiming to be altruistic. Even one of Fielder’s friends asks him in this film if he is maybe sugarcoating Holmes’ words because he cares about her on some level and this film really has you questioning what is the truth here between these people. Can you trust the truth when its delivered just bluntly from a horrible person, or do you trust the person insisting theyre innocent because they look at you with elfin cartoon eyes and claim they’ve changed because they have children now. It’s fascinating. The film also has the standard insane Nathan Fielder twists but to spoil them would be a disservice. Suffice to say, you need to watch YOU CAN SEE EVERYTHING in theaters this weekend.