As the start of the cinema “awards season” officially begins (despite some high temp spikes, this is the Fall), filmgoers will now get to see the film that generated the most “buzz” at last month’s Telluride Film Festival. And the buzz isn’t about the performances of actors or the script, since this is a documentary. Perhaps this will be that ‘doc’ that grabs those who still consider them to be “homework”. There are a couple of big “hooks” to entice. First, it’s co-directed and “presented” by a comedy vet who has headlined several cable and streaming TV shows, though this is his first major feature film. Oh, and the subject was a huge story that became fodder for several podcasts, a best-selling book, and a critically acclaimed streaming limited series (garnering a couple of big awards). After that “media frenzy”, the person at the center of the “scandal” retreated from the public eye…until now. So, what happens after the noise dies down and the trial concludes? Well, now we are given an “invitation” that promises us that YOU CAN SEE EVERYTHING.
The comedian/filmmaker is Nathan Fielder, of “Nathan for You” and “The Rehearsal”. He and co-director Lance Oppenheim (who just helmed the hit “inspired by true events” movie PRIMETIME) are invited into the rented oceanside home of Elizabeth Holmes and her partner (her “baby daddy” and possible hubby), Billy Evans. It’s a hectic time for the duo, who are raising two kids (a toddler around two and an infant only a few months old) while preparing for her “away time”. In 34 days, she must “surrender” herself in order to begin incarceration for fraud. Yes, she is the woman behind Theranos, the company that promoted a “miracle” invention that could test a drop of blood and provide results and a reading within minutes. But the gizmo never worked as she promised. With his camera and sound crew out of sight (most of the time), Fielder becomes our observor/inquisitor who interviews both of them. Elizabeth promises complete “truth” as she stares intently into Fielder’s eyes and proclaims her innocence. Billy is more aggressive as he tells of his initial meeting with her (did her know her “history”) while hustling to start a new “medical marvel” business. And Fielder is always hovering, casting a cynical (some might say a “stink”) eye on the accelerating chaos and bizarre ticks. He even gets to speak with the parents of Elizabeth, though Mom barely says anything. “Prison Day” (in far-away Bryan, TX) finally arrives with teary farewells and a possible ending for the film. But it is not that, as Fielder digs much deeper and raises more questions than he can answer, even with his “dream team”. Could that month”embedded” with them have been an orchestrated piece of “performance art”?
Well, this film is certainly a “test” for any reviewer, or merely a film fan recommending it to a friend. Fielder and Oppenheim have put together a truly offbeat “profile” about the “aftermath” of fame (and infamy), which just might jumpstart another “news cycle” for the Theranos “saga”. As our “eyes”, Fielder heightens his stoic, awkward comic persona as we see him being somehow drawn into this world of investors and “sales-gaming”. At times, he’s almost a tennis ball being bounced between the very different spouses (or partners). Wisely, he steers much of the focus away from himself, avoiding too much influence (certainly nothing close to Michael Moore or the Albert Brooks dimwitted filmmaker character in his classic REAL LIFE). The world was more than a bit unnerved by the wide-eyed gaze of Holmes in the “teasers’ which just hint at her “vibe” as the “decieved dreamer” in many of her exchanges with Fielder. Then, there’s Evans, who takes charge with the zeal of an angry “battering ram” (an early scene at breakfast “foreshadows” his “role”). He’s also a mystery since his motivation careens from family protector to “super-salesman” (and what’s with him viewing online science videos at likely double the speed). He may be the “villain” in this scenario. Or is he? That’s part of the problem in talking to those thinking about seeing this. That and the sublimely surprising final act, which “pulls out all the stops” in recreating what happens behind tightly closed doors. There aren’t many examples of visual flourishes as the shots switch from close-ups to “two shots”, but the general off-kilter sense of unease is driven home by the haunting music score by Art Balouzian. Hopefully you’ll be able to take in this film with friends and family, as the post-movie discussions will be lively. 2026 is shaping up to be a great year for documentary features, and YOU CAN SEE EVERYTHING is one of the very best. And you’ll see that it’s certainly not homework or “eatin’ your veggies.”
3.5 Out of 4
YOU CAN SEE EVERYTHING is now playing in select theatres
