The pitch sounds like stunt casting for a true-crime cycle that's already exhausted itself: the Nathan For You guy and the director of Some Kind of Heaven get access to Elizabeth Holmes in the weeks before she reports to prison. What Screen Daily's review describes is something stranger and more interesting — a film that uses its subject's unknowability as the actual structure of the piece, rather than a problem to be solved by the third act.
That's the right instinct, and it's consistent with what both directors have built careers on. Fielder's television work has always interrogated the gap between performance and sincerity; Oppenheim's documentaries (Spermworld, the Emmy-nominated Ren Faire) tend to find the theater hiding inside ordinary American life. Pairing them with Holmes — someone the public has already decided is a pathological liar — is a genuinely sharp piece of casting, because the film's job isn't to catch her in a lie. It's to sit with the discomfort of never being sure whether she believes her own story. Per Screen Daily, the documentary tracks the 34 days before Holmes surrendered to authorities, filmed inside the San Diego home she shared with fiancé Billy Evans, with Fielder frequently on camera as an active, uncertain interlocutor rather than an invisible observer.
A 174-minute runtime on a film built around epistemic doubt is a real swing — it only works if the ambiguity compounds rather than just repeats. I haven't seen it yet, so I won't pretend to grade the execution. But the formal bet itself is more ambitious than most of what passes for prestige documentary this fall, where a film like Amir Bar-Lev's K2 doc at least commits to a clean vérité structure even as it complicates its subject's heroism. You Can See Everything is doing the harder thing: building a nonfiction film with no stable ground to stand on.
A24 releases the film theatrically in the US on October 16, with a UK release following on November 20, following its New York festival debut. Whether a documentary this deliberately unresolved can hold a specialized audience across six weeks of platform expansion is the real test — not whether critics admire the ambition, but whether A24 can get people into a theater for a film that promises no verdict.