Review: ‘You Can See Everything’ probes truth and reality to their core

Like many, I was fascinated with the downfall of Theranos and its CEO, Elizabeth Holmes. She had a strange Steve Jobs fixation. That can’t be her real voice. Her secret age-gap relationship with Theranos COO Sunny Balwani. And the multitude of rich, powerful men she gathered as supporters and backers, all while she faked lab results and defrauded investors with a revolutionary idea to disrupt healthcare that never worked.

Now, the latest twist—and the surprise of 2026—is that Nathan Fielder, of all people, lived with Holmes and her husband, Billy Evans, in the month before she went to prison and made a documentary about it. 

Evans and Holmes first reached out to A24 about having a crew film their lives, likely to rehab Holmes’s image and let people see “the real her.” Documentarian and Primetime Director Lance Oppenheim became friends with Fielder after the release of his first documentary, Some Kind of Heaven, and the duo jumped at the chance to follow the couple. While Fielder initially planned to appear only behind the scenes, we see him lurking in corners and behind windows in the early parts of You Can See Everything; he soon became a vital part of understanding Evans and Holmes’s very strange relationship, and why the crew was even allowed access. 

Fielder becomes the perfect interviewer and antagonist to the couple, using his perceived awkwardness to keep pushing and digging deeper. When Evans pauses for a long time, for instance, Fielder questions him about it and presses when he can’t get an answer. Meanwhile, Oppenheim and cinematographer David Bolen (who also shot Primetime) favor extreme close-ups, pushing into people’s faces until they take up the entire screen. The audience becomes a detective, analyzing people’s faces to suss out their intentions and what’s true or false. 

While Fielder struggles to get Holmes to understand why people think she defrauded her investors, Evans is always there to either stop him directly or misdirect him. If Elizabeth starts to say too much, Evans says she has an appointment or needs to make a phone call. He’s deeply controlling in other aspects of their life, going so far as to abruptly take a bowl of eggs from her because she’s not whisking them correctly. In one shocking moment (in a movie full of them), he has Fielder film him totally nude in the shower—how can he have anything to hide when he’s completely exposed? 

In one of the earliest scenes, Fielder tells Holmes he believes she is guilty but worries that, because he doesn’t have a scientific background, he will become another man like General “Mad Dog” Mattis to insulate her from criticism, whom she has a history of collecting. As an audience, we also begin to wonder whether Holmes is a victim herself, whether this is all a ruse to make her seem like one, or whether Fielder himself has become part of it and is withholding from us. 

Though three hours long, You Can See Everything never feels dull and keeps you on your toes. Without spoiling anything, Fielder, without playing up the TV version of himself, uses many of his trademark “tricks” of understanding a situation. As an audience, we’re constantly seeing something reframed through a new lens or new perspective, never really knowing what’s going to happen next. 

Time will tell if You Can See Everything becomes Fielder’s masterpiece; I expect it will. In the here and now, it’s a phenomenal work unlike anything I’ve ever seen, probing truth and reality to their core, and one of the best movies of the year.