Billy Evans' Full-Frontal Shower Scene in 'You Can See Everything' Finally Gets an Explanation

A24’s ‘You Can See Everything’ has gone from a surprise Telluride premiere to one of the most talked-about releases of the fall. Directed by Nathan Fielder and Lance Oppenheim, the nearly three-hour documentary was made in secret over three years and follows Elizabeth Holmes in the weeks before she reported to federal prison. It has earned a 100% Rotten Tomatoes score and an unheard-of $1.7 million from previews for a documentary.

The film’s pitch is intimacy. Holmes and her partner, Billy Evans, invited the filmmakers into their San Diego home 34 days before her prison sentence began, with a 7-person crew shooting up to 16 hours a day. According to Oppenheim, the only thing they couldn’t film was privileged legal calls.

That level of access explains how one of the film’s most talked-about moments ended up on screen. Early in the movie, Evans is filmed working out at the gym, and the camera then follows him into the shower, where he is fully naked. The scene is the reason the documentary carries an R rating for graphic nudity, and Oppenheim has now explained how it happened.

In an interview with Vulture published on October 19, Oppenheim said the moment was far less calculated than viewers might assume. After a trip to the gym, he asked Evans what he had planned for the rest of the afternoon. Evans said he needed to shower, and before Oppenheim could suggest a more tasteful, minimally invasive way to shoot it, Evans undressed and stepped in.

Oppenheim said it felt as if Evans had something he wanted to show the filmmakers and the wider world. That reading fits the rest of the film, which opens on a portrait of people insisting they have nothing to hide.

Oppenheim also described just how open the couple was from the start. When the crew arrived at the house, Holmes’ computer was open with her emails visible, and her journal sat on the side of the couch. The title itself reportedly traces back to an odd text Holmes sent Fielder, which seems to have been written while she was at the beach with Evans.

Not everyone has seen the result. According to Oppenheim, neither Holmes nor Evans has watched the finished film, since Holmes is still incarcerated.

Critics and viewers have been debating what the scene means. One critic called it a shocking, uncomfortable moment that signals something may be off with Evans, and wondered whether it was a power play or an alpha-male move. Another reviewer noted that the shot lands full-frontal and head to toe, with Evans brushing his teeth, and immediately underscores how uncertain Fielder is about what he has stepped into.

The scene also sets the tone for Evans’ role in the film. Elsewhere, he reveals on camera that he runs Holmes’ account on X and has her login information. Fielder has said his relationship with Evans became strained toward the end of production, as Evans tried to exert more control over the project and approached the filmmakers and A24 about sharing in its profits.

YOU CAN SEE EVERYTHING, a documentary by Nathan Fielder and Lance Oppenheim, featuring Elizabeth Holmes. See for yourself only in theaters October 16. Select theaters on sale now at https://t.co/DZ1E68DQfQ, nationwide tickets available October 1. https://t.co/6jbp713LqR
— A24 (@A24) September 23, 2026

The shower scene is only a sliver of what keeps the documentary in the conversation. After the raw first half with Holmes and her family, the second half flips the script to focus on the filmmakers themselves and the nature of truth. Fielder brings in actors, including Christopher Abbott as Evans, to reenact private conversations the cameras couldn’t capture.

The commercial buzz is real as well. The documentary opened on 855 screens and was projected to take in at least $8 million, which would make it one of the biggest documentary openings in years. A24 has already decided to take the film wider.

For a film built on the idea that nothing is hidden, the origin of its most controversial scene turns out to be the simplest answer of all: the cameras were rolling, and Evans wanted to be seen.