Bad Blood: Theranos Founder Holmes Back in the Spotlight
The documentary uses reenactments and intimate home footage to examine how truth and performance blur around Elizabeth Holmes.
- On Wednesday, September 30, the documentary 'You Can See Everything' premiered at the New York Film Festival, directed by Nathan Fielder and Lance Oppenheim. The film opens in theaters on October 16.
- Filmmakers Fielder and Oppenheim began shooting 34 days before Holmes turned herself in for her 11-year fraud sentence. Holmes invited the crew into her home to document her life with partner Billy Evans.
- Utilizing a three-camera setup, Fielder and Oppenheim captured constant coverage with long zoom lenses to parse microexpressions and intent. The directors employed reenactments to interrogate objective truth and sincerity.
- Estrangement followed production, as the documentary portrays Evans as "a smarmy, self-satisfied svengali figure." Fielder told the Telluride audience that "communication with him sort of broke down" due to Evans' attempt to control the project.
- Early reviews describe the film as a "breathtaking inquisition" into truth and intention, generating Oscar buzz. Audiences must wait until October 16 to experience the documentary's numerous shocking twists.
13 Articles
13 Articles
You Can See Everything Review: Nathan Fiedler Vanishes in Elizabeth Holmes’ Looking Glass
Some documentaries strive to guide you into the uncanny valley, holding the viewer’s hand while the surreality of its subject matter is slowly revealed. You Can See Everything starts in that place, moves in furniture, and makes itself snugly at home in some of the valley’s choicest real estate. Which in this case resembles the […]
Nathan Fielder & Lance Oppenheim Talk ‘You Can See Everything,’ Elizabeth Holmes & A Surreal Doc About Observation, Perception & Performance
Some documentaries observe their subjects, some documentaries interrogate them, and then there is “You Can See Everything,” Nathan Fielder and Lance Oppenheim’s surreal, extraordinary new Elizabeth Holmes film, a work that keeps destabilizing the very idea that observation can ever produce something as reassuring as objective truth. So slippery, funny, unnerving, and formally audacious, it can leave you so disoriented you feel as if you’ve been …
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