The You Can See Everything documentary, co-directed by Nathan Fielder and Lance Oppenheim chronicles the final month before tech founder Elizabeth Holmes entered an 11-year prison term. After debuting as a secret screening at the Telluride Film Festival in September, the film has now secured a theatrical launch in the United Kingdom and Ireland for 20 November. A24 will handle the distribution itself, echoing the company’s recent strategy of self-releasing prestige titles.
Festival circuit and release timetable
Following its surprise Telluride premiere, where critics highlighted the film’s unsettling intimacy, You Can See Everything traveled to the New York Film Festival before landing at the Academy Museum’s David Geffen Theater for a star-studded Los Angeles screening. The U.S. theatrical debut is scheduled for 16 October, while the U.K. and Irish roll-out arrives a month later on 20 November. A24’s decision to self-distribute both domestically and across the Atlantic suggests confidence in the documentary’s awards potential, especially after early Oscar chatter emerged from its festival appearances.
How the filmmakers entered Holmes’s world
The partnership between Fielder and Oppenheim began after Oppenheim, fresh from directing the narrative feature Primetime recalled that Holmes had reached out to A24 seeking a camera crew for her last days of freedom. Neither Holmes nor her partner, Billy Evans were familiar with the directors’ prior work—Holmes had only seen a YouTube clip of Nathan for You and Evans dismissed the opening of Oppenheim’s earlier film as “not very compelling.” Undeterred, the duo secured a meeting with A24, presented their concept, and were granted unrestricted access to the couple’s San Diego rental, including a guest house where the crew would live for roughly 35 days.
During the initial encounter, Fielder described Holmes as simultaneously sincere and deceptive, a paradox that shaped the documentary’s tone. The pair moved into the home, filmed daily routines, and captured candid moments of Holmes, Evans, and their two children. As the cameras rolled, the directors found themselves pulled into the narrative; Oppenheim later admitted that Holmes and Evans kept nudging Fielder into the frame, eventually making him a focal point to “confront their delusions.”
Behind-the-scenes tension and lingering questions
The experience proved unsettling for the crew. At one point they suspected the guest house might be bugged and even purchased a low-cost “debugger” to test for surveillance, only to discover it was ineffective. Fielder recalled offering to leave multiple times when emotional moments escalated, particularly because two young children were present, but Evans consistently refused. Communication between the filmmakers and the couple reportedly broke down toward the end of filming, leaving Holmes and Evans without a copy of the final product. As Oppenheim explained, “Neither of them have seen the film; Elizabeth is still incarcerated and Billy hasn’t seen it.”
Both directors admitted that the three-year span of the documentary—from the initial 34-day access to the post-production period—has left them questioning their own perception of events. In a recent Q&A moderated by Bill Hader Fielder said, “I still am not sure to this day what I experienced. Maybe a wider audience can help me understand what we all went through.” The film’s release, therefore, is presented not only as a chronicle of a disgraced entrepreneur but also as a reflective piece on the blurred lines between observation and participation.
With the U.K. opening imminent and the U.S. release already slated, You Can See Everything joins a growing slate of documentary films that blend investigative journalism with a personal, almost experimental, filmmaking style. Audiences will soon be able to judge whether the uneasy atmosphere captured behind the lenses translates into a compelling cinematic argument, or if the documentary remains a haunting snapshot of a moment that continues to reverberate in the public consciousness.
