You Can See Everything Box Office: Elizabeth Holmes…

You Can See Everything vs Clayface: Documentary Storms Past $18M as Superhero Film Prepares for Battle

Nathan Fielder’s Elizabeth Holmes doc hits $18M as Clayface braces for a fight.

By Reel to Reel2 hours ago1 min read

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The documentary You Can See Everything, directed by Lance Oppenheim and Nathan Fielder, has grossed $18.1 million in North America after a $2.57 million Monday — outpacing Paramount/Legendary/Capcom’s Street Fighter, which earned $1.9 million on the same day. The A24 release opened to $15.6 million across 855 theaters, marking the second-largest debut ever for a documentary film.

Now expanding to at least 2,600 screens, the film is positioning itself as a major contender against Warner Bros/DC’s Clayface, a lower-budget genre entry from James Watkins and Mike Flanagan. Early forecasts place Clayface at over $20 million for the weekend, though presales remain split, some circuits project $18 million, others mid-$20Ms.

The battle between the two films is shaping up like a market-by-market showdown, with advance ticket sales expected to shift in the next three days as A24 adds more showtimes. Despite its 3-hour runtime, a rarity in today’s theatrical landscape, the film has overindexed from initial expectations, drawing strong engagement from Gen-Z audiences and couples (44% of viewers).

It’s also outperforming other recent Gen-Z-targeted releases: higher than Iron Lung’s first Monday ($2.05M), behind only Backrooms ($7.6M) and slightly below Obsession’s $2.9M. Some analysts are comparing it to Borat’s opening, a $26.4 million launch at 837 locations, though that film had a far larger marketing campaign. While Clayface leads in impressions (34.1 million vs. 2.3 million), its average ticket price sits at $14.65 compared to You Can See Everything’s $12.88.

The film’s success is being driven by word-of-mouth momentum, not hype. And if the numbers hold? This could be the first time a documentary nearly matches a superhero movie’s opening weekend haul. The real question now isn’t whether it will win, it’s how much the studio will have to pay to admit they misjudged the audience.