Nathan Fielder’s Elizabeth Holmes Documentary Debuts to an Insane Rotten Tomatoes Score

Nathan Fielder has built an entire career on blurring the line between documentary and performance, using his deadpan interviewing style to unearth uncomfortable truths from unsuspecting subjects. Pairing that sensibility with Lance Oppenheim, another filmmaker known for his hypnotic, boundary-pushing nonfiction work, was always going to produce something unusual.

That collaboration finally revealed itself under genuinely mysterious circumstances at this year’s Telluride Film Festival, where a secretly programmed mystery screening generated buzz comparable to any officially announced title at the festival. When the curtain finally lifted on what the film actually was, audiences discovered something few could have predicted.

The film turned out to be ‘You Can See Everything,‘ an intimate, three-year documentary chronicling disgraced Theranos founder Elizabeth Holmes in the weeks leading up to her imprisonment, and it has now debuted to a perfect 100 percent score on Rotten Tomatoes based on its first 10 reviews. That kind of unanimous early reception is rare for any film, let alone one built around one of the decade’s most polarizing real-life figures.

The documentary follows Holmes and her partner Billy Evans, who invited Fielder and Oppenheim’s small crew into their home just thirty-four days before Holmes began serving her federal prison sentence for defrauding investors. What began as a seemingly straightforward access documentary evolved into a three-year filming process, following the couple well beyond that initial window into something far stranger and more expansive.

Reviewers have struggled to categorize exactly what kind of film ‘You Can See Everything’ actually is, with several describing it as something closer to reality television than traditional documentary filmmaking. Variety’s Owen Gleiberman captured that ambiguity, describing the project as a one-of-a-kind reality-TV-as-hangout-movie psychodrama circus, a characterization he shared in Variety.

RogerEbert.com’s Tomris Laffly was similarly effusive, awarding the film a perfect score and suggesting it might advance a new cinematic language in the mainstream non-fiction sphere, a sentiment shared in her review for RogerEbert.com. That kind of praise, positioning the film as something genuinely novel rather than simply another true-crime documentary, has helped fuel the growing buzz heading into its theatrical release.

The film also features substantial time with Amanda Seyfried, who previously won an Emmy for portraying a younger Holmes in the limited series ‘The Dropout.’ That inclusion adds an additional meta layer to a project already preoccupied with questions of performance, authenticity, and how public narratives get constructed around real people.

At two hours and fifty-four minutes, ‘You Can See Everything’ asks for a significant time commitment from audiences, but early reactions suggest the film’s unconventional structure justifies its length. Several critics and early festival attendees described the experience as consistently gripping despite its runtime, with social media reactions following its Telluride debut expressing genuine shock at how the film unfolds.

Fielder and Oppenheim reportedly navigated real restrictions on their access to Holmes once she entered prison, finding creative ways to continue the story despite those limitations rather than abandoning the project altogether. That resourcefulness appears to have become part of the film’s larger thematic project, using the practical challenges of documenting an incarcerated subject as material in its own right.

‘You Can See Everything’ is set for a theatrical release from A24 on October 16, giving audiences their first chance to see the project outside the festival circuit. Given the unanimous critical reception so far and the sheer strangeness of its premise, the film looks poised to become one of the most talked-about documentary releases of the year.

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