You Can See Everything, Nathan Fielder's nearly three-hour portrait of the Theranos founder, has overtaken Street Fighter at the domestic box office despite screening in under 900 theatres.
Nathan Fielder's documentary about Elizabeth Holmes has done something documentaries almost never do: beaten a wide theatrical release to the top of the North American charts.
You Can See Everything, co-directed by Fielder and Lance Oppenheim for A24, has climbed to the No. 1 spot domestically, according to Koimoi, which cited Box Office Mojo figures. The film pulled in an estimated $2.6 million on its first Monday, across just 855 screens, enough to push past Street Fighter even though it's running in a fraction of the theatre count. That's the kind of per-screen math studios dream about.
Koimoi's report pegs this as the second-biggest opening Monday ever recorded for a documentary, trailing only Michael Moore's Fahrenheit 9/11, which did $4.5 million on its first Monday back in the day. You Can See Everything did drop 46.2% from its Sunday numbers, which is normal for a non-franchise title easing out of weekend momentum. Four days in, its domestic total has crossed $18.2 million. Not bad for a film with a nearly three-hour runtime and zero overseas release so far.
The reviews help explain the walk-in crowds. The film is sitting at 98% with critics and 97% with audiences on Rotten Tomatoes, a split that rarely happens this cleanly. Critics quoted in the Koimoi piece describe Fielder pushing his trademark deadpan, documentary-as-bit style to its outer edge here, calling the result both absorbing and unsettling as a study of Holmes' inner life.
The subject matter is doing a lot of the pulling, too. Holmes, once the youngest self-made female billionaire in America on the strength of her blood-testing startup Theranos, was convicted of defrauding investors and is currently serving her prison sentence. The documentary catches her 34 days before she reported to begin that sentence, inviting a crew that the film itself frames as skeptical to follow her and partner Billy Evans. What starts as an access documentary, per the synopsis, stretches into a three-year chronicle.
Internet chatter has latched onto comparisons with other true-crime adjacent box office runs this month, some social posts framing it alongside a rival Elizabeth Holmes project and arguing over which counts as a flop or a hit given budget size. None of that noise changes what the numbers actually show domestically right now: a nearly three-hour A24 documentary outrunning a studio action tentpole on a tenth of the screens.
Koimoi flagged, as it always does, that these are estimates pending final confirmation. A24 hasn't announced international dates yet, and with the film still climbing four days out, that overseas rollout is the next thing to watch for.
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