Nathan Fielder's three-hour documentary centered on Elizabeth Holmes has evolved into a cultural sensation, yet during a packed Times Square showing, audience members remained uncertain about their opinions.
In You Can See Everything, it is Elizabeth Holmes's partner who emerges as 2026's most relevant antagonist.
Secrets, falsehoods, and an unexpected A-list appearance: how You Can See Everything became the year's defining film.
Typically, when I revisit a film during its cinema release, it's to accompany someone who hasn't seen it, partly hoping to observe their response to a work that stirred or inspired me. Watching Lance Oppenheim and Nathan Fielder's You Can See Everything again in New York City on a Saturday night amplified that impulse. This film is drawing an unexpectedly large audience, accompanied by intense audience reactions; viewing it again in a full 300-seat theater allowed me to relive that feeling of discovery. More importantly, nearly everyone I know had already seen it; my only option was to watch strangers.
This documentary, which delves into (and helps construct) a maze of reflections surrounding the notorious medical-tech fraudster Elizabeth Holmes, has become the autumn's box office phenomenon. It actually saw a 25% increase in its second weekend, earning an additional $19.5m—a rare achievement even considering its expanded screen count. With over $45m in North America, it's already among A24's top-grossing films; it could end up in the company's top three and rank high among the highest-earning nonfiction features. While You Can See Everything may not be an Obsession-level cash cow, it's perhaps even more surprising that a three-hour documentary, announced only about eight weeks ago, is on track to surpass high-profile new releases like Practical Magic 2, Verity, and Street Fighter, among others. It has also outgrossed co-director Oppenheim's fellow A24 surprise hit Primetime, which benefits from genuine movie star Robert Pattinson.