A24 has pulled back the curtain on a clandestine project that has been three years in the making. Nathan Fielder, the comic mind behind Nathan for You and The Rehearsal, teamed up with director Lance Oppenheim to shadow Elizabeth Holmes in the weeks before her incarceration. The resulting film, titled You Can See Everything, promises an intimate yet disorienting portrait of the disgraced Theranos founder, and its first teaser has already sparked a wave of unease across social media.
A Three‑Year Cloak‑and‑Dagger Project
Work on the documentary began in earnest shortly after Holmes’s conviction in January 2022, though neither Fielder nor Oppenheim publicly acknowledged the endeavour until the trailer dropped. Over three years, the crew gained unprecedented access to Holmes’s daily routine, capturing moments that range from mundane to markedly unsettling. The film’s official synopsis describes the endeavour as “an intimate portrait of an enigmatic felon [that] becomes a mind‑bending three‑year journey into the abyss.”
Holmes, who was found guilty on four counts of fraud and conspiracy for misrepresenting the capabilities of Theranos’s blood‑testing technology, is currently serving an 11‑year term at a federal prison in Texas. Her projected release date, according to the Federal Bureau of Prisons, is 19 March 2032. The film therefore arrives at a juncture when public fascination with her fall from grace remains acute, yet the full extent of her reflections on the scandal has rarely been seen.
Inside the Trailer’s Unnerving Exchange
The teaser, released on Monday 7 September 2026, opens with Fielder fixing his gaze on Holmes and posing a series of pointed questions. Her reply is measured:
> “I don’t have anything to deceive you on. Of course I’m not deceiving you. I’m engaging with you as a human being. Why would I deceive you? There’s no reason for me to do that.”
Fielder, ever the deadpan interlocutor, responds:
> “OK. Alright. OK, good chat. You’re being real right now?”
Holmes counters with steadfast assurance:
> “I’m always being real.”
The exchange, brief yet charged, has struck a chord with viewers familiar with Fielder’s oeuvre. His work routinely blurs the line between documentary observation and staged discomfort, often placing subjects in bizarre social experiments that escalate into the absurd. From devising ludicrous schemes to aid struggling businesses in Nathan for You to orchestrating elaborate rehearsals for real‑life conversations in The Rehearsal—including a season in which he secretly trained to become a licensed Boeing 737 pilot—Fielder’s signature is an unsettling blend of sincerity and satire. The trailer suggests he has turned that lens onto one of the most notorious figures of the Silicon Valley era.
Festival Premiere Under Strict Surveillance
You Can See Everything debuted at the Telluride Film Festival in Colorado on the Sunday preceding the trailer’s release. The screening was shrouded in secrecy; attendees were required to lock their mobile phones in pouches, and security personnel equipped with night‑vision goggles patrolled the auditorium to deter any illicit recording. When the lights came up, Fielder joined Oppenheim on stage, admitting his own bewilderment:
> “I really am struggling to this day to understand exactly what I experienced in this. I don’t quite know what I went through.”
Online reactions mirrored that sense of disorientation. Instagram users remarked on the trailer’s visceral impact, with one commenter questioning whether Holmes might earn an acting nomination for her performance, another declaring they had “never been so uncomfortable in my life,” and a third simply stating the clip “rocked me.”
The film is slated for a theatrical rollout in October, positioning it as a potential awards‑season contender while also reigniting public discourse about accountability, deception, and the cult of personality that surrounded Theranos’s meteoric rise and precipitous fall.
Why it Matters
This documentary arrives at a moment when the tech industry continues to grapple with the consequences of overpromising and underdelivering. By granting viewers unfiltered access to Holmes’s mindset in the immediate prelude to her imprisonment, Fielder and Oppenheim offer a rare opportunity to examine how personal narrative, public perception, and corporate mythmaking intersect. The unsettling tone of the trailer is not merely a stylistic flourish; it forces audiences to confront the uncomfortable reality that charisma and conviction can mask profound deceit. As the film prepares for wider release, it invites a broader conversation about the ethical responsibilities of innovators, the power of storytelling in shaping reputations, and the lingering cultural fascination with figures who embody both ambition and fraud. In an era where scrutiny of corporate ethics is ever more vital, You Can See Everything could serve as both a cautionary tale and a mirror, reflecting how easily the line between visionary and fraudster can blur.
