Nathan Fielder’s You Can See Everything review: A masterclass in exposing modern deception

KUALA LUMPUR, 2 OCTOBER 2026 —

You Can See Everything, the three‑hour documentary co‑directed by Nathan Fielder and Lance Oppenheim, premiered at the New York Film Festival on Wednesday, drawing intense interest from audiences and industry observers alike.

The significance of the premiere lies in the unprecedented pairing of Fielder, known for his meta‑comedy series The Rehearsal, with Holmes, whose 2023 conviction for wire fraud and conspiracy marked the end of one of the most high‑profile corporate fraud cases of the decade.

By granting the filmmakers “as much access as possible into our daily lives,” Holmes and Evans hoped to reshape public perception of the former Theranos chief and to lay the groundwork for a possible “Theranos 2.0” venture. Their decision to work with Oppenheim, whose narrative feature Primetime starring Robert Pattinson debuted last month, and with Fielder, whose precise, cringe‑laden interview style has become his trademark, adds a further layer of intrigue to the project.

According to audience members present at the festival, the documentary delivers a “stupefying and gloriously destabilising hall of psychological mirrors,” with the camera lingering on tight frames, hyper‑saturated colours and creeping zooms that turn ordinary domestic scenes into a “fascinating parade of inscrutable motivations.” The film’s opening sequence features a minute‑long clip in which Fielder, eyes fixed on Holmes, asks, “Are you being real right now?” The exchange, captured in close‑up, sets the tone for a series of confrontations that blend humor, tension and a relentless probing of truth.

Holmes, who was awaiting the start of an 11‑year prison sentence at the time of filming, appears alongside Evans, who entered the picture after the collapse of Theranos, in a series of scenes that oscillate between candid family moments and calculated performances.

Evans is quoted in the film as saying, “the best way for people to see who she is … is to give as much access as possible into our daily lives,” a statement that underscores the couple’s intent to control the narrative surrounding Holmes’s legacy.

Fielder’s presence adds a further dimension to the documentary’s structure. In several “exquisitely blunt confrontations,” he adopts his signature style of “sharp angles – arched eyebrows, needling questions, dispensation of social buffers” to challenge Holmes’s “guileless warmth,” prompting viewers to question whether the interactions are genuine or staged.

The filmmakers’ decision to let a comedian known for orchestrating elaborate business scams document a convicted fraudster has been called “an odd choice” by commentators, yet the resulting tension appears to have resonated with the festival audience.

The premiere’s reception suggests that the film will generate considerable buzz across the region’s media and streaming markets.

While the documentary’s three‑hour runtime exceeds typical festival offerings, early reports indicate that the length contributes to its “thriller‑like” pacing and “drama‑scored” atmosphere, keeping viewers engaged as the narrative “unravels certainty in real time.” The film’s blend of documentary realism and scripted performance is expected to spark debate among critics and regulators about the ethical boundaries of portraying real‑world fraud cases in entertainment formats.

Industry insiders note that the documentary’s focus on Holmes’s attempt to “rebrand for Theranos 2.0” could influence public sentiment ahead of any future business initiatives linked to her name. Although Holmes remains incarcerated in a Texas prison, the film’s exposure of her personal life and the dynamics with Evans may shape how potential investors and partners assess the viability of any post‑prison ventures.

The next step for the documentary, according to the festival’s programming notes, is a limited theatrical release in major North American cities, followed by a rollout on streaming platforms that could include regional services catering to Southeast Asian audiences.

No specific distribution dates have been announced, but the buzz generated by the New York premiere positions You Can See Everything as a potential cultural touchstone for viewers interested in the intersection of technology, fraud and media manipulation.