‘You Can See Everything’ Climbs to the Top of Letterboxd, and Nathan Fielder’s Elizabeth Holmes Doc Is Rewriting the Record Books

Documentaries rarely become cultural events, and they almost never break rating records. A24’s ‘You Can See Everything’ appears to be doing both. The film from comedian Nathan Fielder and filmmaker Lance Oppenheim has become the talk of cinephile circles, and its Letterboxd rating is now the headline.

According to reports, the film has risen to a 4.8 average on Letterboxd, which would make it the highest-rated feature film of all time on the platform. For a documentary about a disgraced Silicon Valley founder, that’s an extraordinary achievement.

Letterboxd’s rating is a weighted average of all ratings cast by members. A snapshot taken weeks ago showed the film at 4.74 based on nearly 52,000 ratings, and it has reportedly kept climbing since the movie opened in theaters on October 16. Before this, ‘Everything Everywhere All at Once’ had been celebrated as the site’s top-rated film after it passed classics such as ‘Parasite’ and ‘The Godfather’ in 2022.

It’s worth remembering that early ratings often skew toward the most enthusiastic viewers, and the platform’s numbers can shift. Still, the strength of the reaction is hard to ignore.

The film’s path to this moment was unusual. It had a secret world premiere at the 53rd Telluride Film Festival on September 6, 2026, in a surprise screening that left the audience stunned. It later played in the Spotlight section of the New York Film Festival and the BFI London Film Festival before A24 released it theatrically.

At the Telluride Q&A, Fielder reportedly seemed as bewildered by the experience as the audience, saying he was excited for people to see the movie and tell him what he had experienced. That playful, deadpan energy is exactly what fans of his work expect.

The film follows Elizabeth Holmes, the Theranos founder now serving an 11-year prison sentence for fraud. About a month before she was due to report to prison, Holmes invited a skeptical film crew to document her every move, and Fielder and his team spent time at the San Diego home she shares with her partner, Billy Evans. The access led to what the official description calls a mind-bending journey that stretched over 3 years.

At 174 minutes, it’s a long film, but many reviewers say the runtime is earned. Fielder appears on camera as an interviewer, which means the movie drops any pretense of objectivity and instead questions the nature of truth itself.

Reviews have been glowing. The film holds a 99% approval rating on Rotten Tomatoes based on 103 reviews, with an average score of 9.3 out of 10. The site’s consensus calls it an inscrutable Rorschach test of Holmes’ psyche that is as absorbing as it is haunting.

Deadline described it as unlike any documentary it had seen, and The Guardian said it was more shocking and twistier than advertised. RogerEbert.com gave it 4 stars, praising the way it sits at the intersection of documentary, comedy and performance.

A few critics have offered more mixed takes. Some said the premise feels suspect at the start and that the weakest moments come in the first act, while others noted that Fielder and Oppenheim occasionally stumble under the weight of their ambitions. One reviewer said the blind spots stopped it from being something to celebrate entirely.

Even so, those same writers described it as troubling and undeniably gripping. That tension between admiration and unease may be part of why audiences keep talking about it.

The teaser trailer ‘YOU CAN SEE EVERYTHING,’ a documentary by Nathan Fielder and Lance Oppenheim. Thirty-four days before she’s sent to prison, Elizabeth Holmes invites a skeptical film crew to document her every move. In theaters this October. https://t.co/LHRvYLXULH

— Film Updates (@FilmUpdates) September 7, 2026

The buzz has also reached the box office. TheWrap projected an opening of at least $8 million, which could make it the biggest opening for a non-music documentary since the COVID-19 pandemic. The film is rated R for language and some graphic nudity, a detail that added to the intrigue when it was announced.

It also sets up a busy awards season. The film has multiple nominations pending at the Critics’ Choice Documentary Awards on November 8, including for Best Documentary Feature and Best Director for Fielder and Oppenheim.

Fielder is best known for ‘The Rehearsal’ and the scripted series ‘The Curse’, and this is his first feature documentary. Oppenheim also directed ‘Primetime’ this year, and together they have made something that plays with the line between performance and reality. For many viewers, that blurry line is exactly the point.

Have something to add? Let us know in the comments!