You Can See Everything isn’t a documentary. Not really. It’s a three-hour mirror held up to the act of watching, believing, and judging — especially when the subject is Elizabeth Holmes, standing in her kitchen on the eve of prison, telling Nathan Fielder she’s never lied. A24’s latest isn’t about Theranos. It’s about how we see people. How we think we see them. And whether that matters at all. The film begins with access: thirty days before her sentence starts, Holmes grants Fielder and Lance Oppenheim full, unfiltered entry into her life. No script. No edits. Just her, her partner Billy Evans, who posts as her on X. And the quiet hum of a house that still feels like a stage. She insists she’s truthful. Fielder pushes. She doesn’t flinch. But what if truth isn’t a statement? What if it’s a lens? He shows her “Who’s on First?” and she stares blankly. Is she lost? Or is she playing? The film leans into that question, not to solve it, but to let it rot. Then, at 90 minutes, Holmes walks away. Into prison. The camera stays. And so does the story. But now, Fielder has help. An unnamed third party steps in. Someone who wasn’t in the original agreement. Their input reshapes the film. Blurs the line between fact and fiction. Turns the doc into something else entirely. JoBlo calls it revolutionary. That might be overstating it. But it’s undeniably bold. This isn’t a portrait of a fraud. It’s a study of perception. Of power. Of how even the most damning evidence can be reframed by someone who refuses to admit they’re wrong. Fielder’s presence, awkward, curious, almost vulnerable. Makes you wonder: is he being manipulated? Or is he just another believer? The film doesn’t answer. It asks. And then asks again. It runs long. Three hours. But every minute feels necessary. Because this isn’t about what happened. It’s about why we keep asking. And why we keep needing answers. You Can See Everything lands in select theatres this Friday. No streaming date yet. But the conversation? That’s already started.