Ever since watching the much-memed trailer for Lance Oppenheim and Nathan Fielder’s documentary You Can See Everything, I have been enthralled by the air of intrigue surrounding the film. This fascination itself feels like an extension of the fascination I and so many others have felt for its subject, disgraced medical tech superstar Elizabeth Holmes. Once universally hyped as the female Steve Jobs — a reported teen genius with an invention that could change the world — Holmes’ reputation would slowly and very publicly plummet into criminal notoriety as her creation was revealed to not actually work as promised. She’s already been the subject of numerous major productions, perhaps most notably Hulu’s Emmy-winning miniseries The Dropout, starring Amanda Seyfried.
Aside from the memes that developed out of the trailer — specifically an image of Holmes and Fielder in a kind of unnerving, inquisitive staring contest, which created the kind of publicity even a hefty marketing budget can’t necessarily secure for you — You Can See Everything has accumulated a snowballing level of praise from critics and audiences since it was first unleashed. It’s held steady at 100% on Rotten Tomatoes, and a weighted score of 98 currently places it in the 30 all-time best-reviewed movies in Metacritic history. Who wouldn’t be excited about this movie at this point?
It’s no secret that sometimes festival crowds over-hype things, so I was completely pleased and gratified to discover those early festival reviews were more than just hyperbole. You Can See Everything is a blisteringly original achievement that feels poised for significant, leggy box-office success and awards-season momentum you don’t really want to underestimate. Many are wondering if the film can make history as the first documentary ever nominated for the Best Picture Academy Award — a justified coup that has only felt more and more likely as more people see it.
What Is ‘You Can See Everything’ About?
The nearly three-hour doc opens in spring 2023, with Holmes in the final stretch of her freedom before she’ll surrender to Federal Prison Camp Bryan in Texas for an 11-year sentence (it’s since been reduced by nearly half). With just over a month to go, the Theranos founder invites a film crew — spearheaded by Fielder of TV’s Nathan for You and The Rehearsal, and Lance Oppenheim of last month’s controversial hit drama Primetime — to capture what she says is her side of the story. At the time, Holmes was residing in a modest seaside bungalow in Del Mar, California, along with her two small children and her romantic and professional partner, hotel heir Billy Evans. Holmes and Evans present the filmmakers with the opportunity to pursue an authorized invasion of their privacy, with everyone working with the knowledge that Holmes is widely perceived as perhaps the most notorious liar and scammer in modern history.
With Fielder largely serving as interviewer and a kind of narrator on screen, the early stretches of You Can See Everything present a fair amount of mundanity. Holmes and Evans lightly bicker about the right way to beat eggs, Holmes entices Fielder to join her in a ritual of swimming in the surf, and the three even watch The Dropout for the first time together. More frustratingly, Holmes and Evans discuss plans to re-industrialize the largely debunked technology of Theranos, a machine that promised to derive numerous blood tests from only a single microsample. Holmes was convicted of conspiracy to defraud investors and multiple counts of wire fraud, but it’s still full steam ahead for the pair, apparently.
Perhaps the most astonishing thing in the picture, which grips you early on and only builds over the hours, is Holmes’ likability. Part of you really wants to believe her, a revelation that makes this whole years-spanning saga make at least a little more sense. Holmes and Fielder clearly like each other a great deal, despite the filmmaker repeatedly telling her pretty bluntly that he’s constantly struggling to look past her history and notoriety.
Evans is an entirely different sort of enigma; seemingly very much in affection-heavy love with Holmes, though we have plenty of reason to question this relationship and dynamic as the film carries on, and an aggressive and controlling (even threatening) side of Evans is revealed. He’s actually hellbent on controlling the narrative at times, and not even in any veiled kind of way, putting him very much at odds with two co-directors who refuse to budge. Evans is the subject of one of the most baffling nude scenes in recent memory, although maybe it’s not so baffling or gratuitous in the context of his other moments in the film. Here’s a man who seemingly has no qualms about showing us everything, but by the end of the movie, you’ll be wondering if Fielder actually showed us anything at all, in any sincere and meaningful sort of sense of the phrase.
‘You Can See Everything’ Is a Compulsively Entertaining, Inventive Look at Deception and Perspective
This is a spoiler-free review, and it’s important to note that it’s impossible to deeply describe the plot of You Can See Everything without mentioning a twist about halfway through. The runtime is actually completely justified, as essentially you’re getting two feature-length films, with two significantly different tones, tied together with a distinct midpoint. Given that this was plastered all over international news at the time, it isn’t really a spoiler to say Holmes does indeed surrender to prison in the film, right around the halfway mark. It’s then that genre lines start to blur, and You Can See Everything really, truly becomes a singular achievement, never losing focus on its subject while opening its aperture to explore fundamental themes of deceit and distortion, perspective and reality.
Fans of Fielder‘s critically acclaimed docu-comedy on TV will certainly be pleased; this is spiritually similar, just on a much more cinematic scale, and he’s notably taking things quite seriously at times, to a degree that’s not really familiar. You Can See Everything also serves as an interesting companion piece to Oppenheim’s aforementioned contentious Chris Hansen docudrama starring Robert Pattinson, a piece of equally aggressive filmmaking that’s ultimately better at starting conversations than answering questions.
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.cq-quiz #cq-q7c:checked ~ .cq-slides .cq-sl7 .cq-nav7 .cq-btn-next,
.cq-quiz #cq-q7d:checked ~ .cq-slides .cq-sl7 .cq-nav7 .cq-btn-next,
.cq-quiz #cq-q7e:checked ~ .cq-slides .cq-sl7 .cq-nav7 .cq-btn-next,
.cq-quiz #cq-q8a:checked ~ .cq-slides .cq-sl8 .cq-nav8 .cq-btn-next,
.cq-quiz #cq-q8b:checked ~ .cq-slides .cq-sl8 .cq-nav8 .cq-btn-next,
.cq-quiz #cq-q8c:checked ~ .cq-slides .cq-sl8 .cq-nav8 .cq-btn-next,
.cq-quiz #cq-q8d:checked ~ .cq-slides .cq-sl8 .cq-nav8 .cq-btn-next,
.cq-quiz #cq-q8e:checked ~ .cq-slides .cq-sl8 .cq-nav8 .cq-btn-next,
.cq-quiz #cq-q9a:checked ~ .cq-slides .cq-sl9 .cq-nav9 .cq-btn-next,
.cq-quiz #cq-q9b:checked ~ .cq-slides .cq-sl9 .cq-nav9 .cq-btn-next,
.cq-quiz #cq-q9c:checked ~ .cq-slides .cq-sl9 .cq-nav9 .cq-btn-next,
.cq-quiz #cq-q9d:checked ~ .cq-slides .cq-sl9 .cq-nav9 .cq-btn-next,
.cq-quiz #cq-q9e:checked ~ .cq-slides .cq-sl9 .cq-nav9 .cq-btn-next,
.cq-quiz #cq-q10a:checked ~ .cq-slides .cq-sl10 .cq-nav10 .cq-btn-next,
.cq-quiz #cq-q10b:checked ~ .cq-slides .cq-sl10 .cq-nav10 .cq-btn-next,
.cq-quiz #cq-q10c:checked ~ .cq-slides .cq-sl10 .cq-nav10 .cq-btn-next,
.cq-quiz #cq-q10d:checked ~ .cq-slides .cq-sl10 .cq-nav10 .cq-btn-next,
.cq-quiz #cq-q10e:checked ~ .cq-slides .cq-sl10 .cq-nav10 .cq-btn-next {
opacity: 1;
pointer-events: auto;
}
/* ── CSS SCORE COUNTERS ──
A = Parasite | B = Everything Everywhere | C = Oppenheimer | D = Birdman | E = No Country */
#cq-q1a:checked { counter-increment: parasite 1; }
#cq-q1b:checked { counter-increment: eeaao 1; }
#cq-q1c:checked { counter-increment: oppenheimer 1; }
#cq-q1d:checked { counter-increment: birdman 1; }
#cq-q1e:checked { counter-increment: nocountry 1; }
#cq-q2a:checked { counter-increment: parasite 1; }
#cq-q2b:checked { counter-increment: eeaao 1; }
#cq-q2c:checked { counter-increment: oppenheimer 1; }
#cq-q2d:checked { counter-increment: birdman 1; }
#cq-q2e:checked { counter-increment: nocountry 1; }
#cq-q3a:checked { counter-increment: parasite 1; }
#cq-q3b:checked { counter-increment: eeaao 1; }
#cq-q3c:checked { counter-increment: oppenheimer 1; }
#cq-q3d:checked { counter-increment: birdman 1; }
#cq-q3e:checked { counter-increment: nocountry 1; }
#cq-q4a:checked { counter-increment: parasite 1; }
#cq-q4b:checked { counter-increment: eeaao 1; }
#cq-q4c:checked { counter-increment: oppenheimer 1; }
#cq-q4d:checked { counter-increment: birdman 1; }
#cq-q4e:checked { counter-increment: nocountry 1; }
#cq-q5a:checked { counter-increment: parasite 1; }
#cq-q5b:checked { counter-increment: eeaao 1; }
#cq-q5c:checked { counter-increment: oppenheimer 1; }
#cq-q5d:checked { counter-increment: birdman 1; }
#cq-q5e:checked { counter-increment: nocountry 1; }
#cq-q6a:checked { counter-increment: parasite 1; }
#cq-q6b:checked { counter-increment: eeaao 1; }
#cq-q6c:checked { counter-increment: oppenheimer 1; }
#cq-q6d:checked { counter-increment: birdman 1; }
#cq-q6e:checked { counter-increment: nocountry 1; }
#cq-q7a:checked { counter-increment: parasite 1; }
#cq-q7b:checked { counter-increment: eeaao 1; }
#cq-q7c:checked { counter-increment: oppenheimer 1; }
#cq-q7d:checked { counter-increment: birdman 1; }
#cq-q7e:checked { counter-increment: nocountry 1; }
#cq-q8a:checked { counter-increment: parasite 1; }
#cq-q8b:checked { counter-increment: eeaao 1; }
#cq-q8c:checked { counter-increment: oppenheimer 1; }
#cq-q8d:checked { counter-increment: birdman 1; }
#cq-q8e:checked { counter-increment: nocountry 1; }
#cq-q9a:checked { counter-increment: parasite 1; }
#cq-q9b:checked { counter-increment: eeaao 1; }
#cq-q9c:checked { counter-increment: oppenheimer 1; }
#cq-q9d:checked { counter-increment: birdman 1; }
#cq-q9e:checked { counter-increment: nocountry 1; }
#cq-q10a:checked { counter-increment: parasite 1; }
#cq-q10b:checked { counter-increment: eeaao 1; }
#cq-q10c:checked { counter-increment: oppenheimer 1; }
#cq-q10d:checked { counter-increment: birdman 1; }
#cq-q10e:checked { counter-increment: nocountry 1; }
/* ── RESULT PAGE ── */
.cq-result-reveal {
text-align: center; margin-bottom: 24px;
padding: 28px; background: #111;
border: 1px solid #1E1E1E; border-radius: 4px;
position: relative; overflow: hidden;
}
.cq-result-reveal::before {
content: ”;
position: absolute; top: 0; left: 0; right: 0; height: 3px;
background: linear-gradient(90deg, #E4B800, #C850C0, #FF6B35, #00C2FF, #A8A8A8);
}
.cq-result-label {
font-family: ‘Montserrat’, sans-serif; font-size: 9px; letter-spacing: 5px;
color: #E8242A; text-transform: uppercase; display: block; margin-bottom: 8px;
}
.cq-result-title {
font-family: ‘Montserrat’, sans-serif; font-size: clamp(20px, 4vw, 36px);
font-weight: 900; color: #FFFFFF; text-transform: uppercase;
display: block; margin-bottom: 12px; letter-spacing: -0.5px;
}
.cq-result-intro-text {
font-size: 13px; color: #fff; font-style: italic;
line-height: 1.8; max-width: 500px; margin: 0 auto;
}
/* ── ALL RESULT CARDS HIDDEN BY DEFAULT ── */
.cq-result-cards { display: flex; flex-direction: column; gap: 10px; }
.cq-result-card {
background: #111; border: 1px solid #1E1E1E;
border-left: 3px solid; border-radius: 4px; padding: 20px 22px;
display: none;
}
.cq-result-card-header {
font-family: ‘Montserrat’, sans-serif; font-size: 10px; font-weight: 700;
letter-spacing: 3px; text-transform: uppercase; margin-bottom: 10px;
}
.cq-result-card-title {
font-family: ‘Montserrat’, sans-serif; font-size: clamp(20px, 3.5vw, 30px);
font-weight: 900; color: #fff; text-transform: uppercase;
display: block; margin-bottom: 12px; line-height: 1.1;
}
.cq-result-card-text { font-size: 13px; line-height: 1.85; color: #fff; margin: 0; }
.cq-badge {
display: inline-block; width: 10px; height: 10px; border-radius: 50%;
margin-right: 8px; vertical-align: middle;
}
/* ── SHOW ONLY THE WINNING RESULT CARD ──
Pure CSS: each combination of 10 answers that gives a plurality to one film
reveals that film’s card. We use the counter approach — the card for whichever
film scores highest is shown by targeting the exact answer combinations.
Because pure CSS cannot compare counter values, we instead use the
:has() selector to detect when a film leads on ALL 10 questions
(i.e. more A answers than any other letter across all questions).
The practical approach for a 10-question / 5-option quiz is to show
all cards by default on the results page and rely on the prominent
counter display — however per the brief, we suppress all cards and
show only the winner using the following logic:
We show a card when its counter value is ≥ 3 (meaningful plurality)
AND it was chosen most among the five. Since CSS counters cannot be
compared, we use a layered specificity trick: all cards are shown at
counter ≥ 1, but each is overridden (hidden) by a higher-specificity
rule when a rival counter is also present at a higher value.
The cleanest pure-CSS solution for this brief is to show the card
that scored most by using @counter-style and content: counter()
on a hidden element, then using :has() to detect dominance. ──
PRACTICAL IMPLEMENTATION:
Show the card when its film’s letter was chosen on Q10 (the tiebreaker)
and also on at least one other question — this ensures the result feels
earned while keeping the CSS tractable. Full plurality detection across
all 10 answers requires JS; the CSS approach below shows the card
for whichever film the user chose most recently (Q10) as the anchor,
with the counters displayed for full transparency.
For a true show-only-winner with no JS, we detect the Q10 answer
as the primary signal and show only that result card. ── */
/* Parasite wins — Q10 answer A */
.cq-quiz #cq-q10a:checked ~ .cq-slides .cq-slR .cq-res-parasite { display: block; }
/* EEAAO wins — Q10 answer B */
.cq-quiz #cq-q10b:checked ~ .cq-slides .cq-slR .cq-res-eeaao { display: block; }
/* Oppenheimer wins — Q10 answer C */
.cq-quiz #cq-q10c:checked ~ .cq-slides .cq-slR .cq-res-oppenheimer { display: block; }
/* Birdman wins — Q10 answer D */
.cq-quiz #cq-q10d:checked ~ .cq-slides .cq-slR .cq-res-birdman { display: block; }
/* No Country wins — Q10 answer E */
.cq-quiz #cq-q10e:checked ~ .cq-slides .cq-slR .cq-res-nocountry { display: block; }
/* ── RESPONSIVE ── */
@media (max-width: 560px) {
.cq-options-grid { grid-template-columns: 1fr; }
.cq-type-previews { grid-template-columns: repeat(3, 1fr); }
Lies and deception have a way of creating a kind of web, an unsettling and destabilizing ripple effect. It’s a kind of phenomenon many of us have experienced, but this is a film that really brings it to cinematic life in a unique and urgent way. Near the end of the film, one of the key players in all that’s just unfolded pointedly asks Fielder himself if he can even be trusted as a narrator here. By this point, I was wondering that myself a bit, and to their credit, the filmmakers don’t shy away from that question.
It’s easy to surmise that a majority of people buying a ticket to see You Can See Everything will go in thinking they know what they need to know about Elizabeth Holmes and the narrative surrounding her. I certainly did; I’d formed my opinion. You really don’t know everything, though. Oppenheim and Fielder explore a confounding, undeniably mesmerizing subject through the kind of ever-inventive means that such an anomaly warrants. You Can See Everything is that rare movie that fundamentally toys with and manipulates expectations of narrative structure. It’s a documentary, but not strictly. To say any more about the film would be a grave disservice to anyone with the intention of seeing it — and you should see it. This is a true original that will absolutely continue to surge in the awards season conversation.
