A24 has released the official full-length trailer for You Can See Everything, a 174-minute feature co-directed by Nathan Fielder and Lance Oppenheim. The documentary chronicles the final thirty-four days of freedom and the initial imprisonment of Theranos founder Elizabeth Holmes, following her conviction for defrauding investors.
Initiated when Holmes invited a film crew to document her movements, the three-year production premiered at the Telluride Film Festival before joining the New York Film Festival Spotlight lineup ahead of its October 16 theatrical release.
Festival Positioning and Distribution Strategy
The rollout of You Can See Everything reflects A24’s calculated approach to polarizing biographical subjects. By debuting via a surprise screening at Telluride, the studio generated immediate critical discourse ahead of its commercial rollout.
Initial reviews indicate that the documentary diverges from standard investigative profiles of corporate fraud. Rather than functioning as a conventional recap of the Theranos collapse, the project examines personal accountability, self-presentation, and the management of public perception under absolute legal finality.
Stylistic Integration and Interrogative Framework
The collaboration pairs Fielder—known for subverting documentary formats in Nathan for You and The Rehearsal—with Oppenheim to establish an unorthodox investigative tone. The trailer highlights direct interactions in which Fielder questions Holmes regarding her culpability, to which she responds by asserting her innocence.
These confrontational exchanges challenge traditional boundaries between objective journalism and performance in non-fiction cinema, elevating the project above standard true-crime retrospectives.
Context within the Theranos Media Landscape
Given the extensive media adaptations surrounding the Theranos narrative—including prior documentaries, podcasts, books, and scripted limited series—You Can See Everything distinguishes itself through runtime and direct access.
By documenting the critical juncture immediately preceding incarceration, the production provides a rare procedural examination of white-collar legal consequences and the finality of judicial outcomes.
