The recently released documentary You Can See Everything offers an intimate look at Elizabeth Holmes' final 34 days before reporting to prison to serve her 11-year sentence for defrauding investors in her health tech company, Theranos. Directed by Nathan Fielder and Lance Oppenheimer, the film follows Holmes as she spends time with her two young children and partner, Billy Evans, heir to the Evans Hotels business.
Early reactions suggest the documentary provides a kinetic and interactive viewing experience, prompting strong emotional responses from audiences. One critic described the film as potentially the "movie of the year" but questioned whether it fully achieves its aims. The film's marketing promised an exploration of Holmes' true self, but it also heavily features her partner, Billy Evans, whose influence on Holmes' life and public image appears significant.
An early scene involving Holmes preparing eggs has been highlighted as particularly unsettling, especially for those familiar with narcissistic or abusive dynamics. The portrayal of Evans has been called "monstrous" by some viewers, suggesting he may be adept at performing for the camera. The documentary at times blurs the line between authentic personal moments, underscored by the presence of young children, and carefully constructed performances.
Fielder's direct approach in seeking clarity sometimes breaks the perceived facade of authenticity. Both Holmes and Evans reportedly struggle with straightforward questions, appearing to adhere to a script or carefully curated narrative. Fielder himself is noted to have questioned their responses, at one point interjecting with "Liz, come on." A conversation regarding the definition of the word "can" is cited as an example of the strained credulity the film evokes.
To fully experience You Can See Everything, it is recommended to watch it in a crowded theater with someone else, allowing for shared reactions to the events unfolding on screen. The documentary may not provide a deeper understanding of Holmes as a person, and viewers may question the filmmaker's distance from the subjects during the 30-plus days of filming. Ultimately, the film presents a scenario where while one can "see everything," believing it is left to the viewer's discretion.