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You Can See Everything is the movie everyone wants to talk about but no one wants spoiled.
Maybe that’s why so many people rushed to theatres on opening weekend to see the nearly three-hour documentary about Theranos founder and convicted fraudster Elizabeth Holmes.
Whatever the reason, the film made more than $15 million US in ticket sales during its debut weekend — the second-largest opening weekend for a non-musical documentary in domestic box office history, behind only 2004’s Fahrenheit 9/11.
It’s a considerable achievement, considering You Can See Everything had a limited release at just 855 theatres in Canada and the U.S.
The reviews following its debut were overwhelmingly positive: rated 99 per cent fresh on Rotten Tomatoes, and scoring a 4.8 on Letterboxd, making it the highest-rated movie in the site’s history. (Both those ratings have come down since then, but only slightly.)
As the five-star reviews started pouring in online, so too did the comments: “My mouth was agape for basically the entire last two hours,” from Letterboxd user James (Schaffrillas).
“Just an absolutely phenomenal crazy fever dream of a documentary,” said user vgoodatkissing.
You can read everything — no spoilers here
The documentary’s premise is straightforward. A film crew, including dual director-producers Nathan Fielder and Lance Oppenheim, briefly move in with Holmes, her partner Billy Evans and their children, and document their lives, 34 days before she is due to start serving an extended prison sentence for fraud.
Toronto film critic Teri Hart says watching You Can See Everything in theatres was a visceral experience.
“People were actually physically leaning into the screen,” she told CBC News. “There were gasps at times; people applauded at the end of the movie, lots of laughter.”
“You leave this movie and you don’t know if you want to talk about Nathan Fielder, if you want to talk about Elizabeth Holmes, if you want to talk about Billy or if you want to talk ‘where did they put the camera.'”
The trailer gives audiences a glimpse into Fielder and Holmes’s unusual dynamic.
“Nathan Fielder is not afraid of awkward. Nathan Fielder is not afraid of asking questions in a way that is unlike anybody else,” said Hart. “He has a level of provocateur, I think, that is so fascinating to watch.
Boundary-pushing directors Nathan Fielder and Lance Oppenheim documented Elizabeth Holmes’s life during the 34 days before she was sent to prison for defrauding investors. (A24)
“Place him with Elizabeth Holmes, who also has a unique way of communicating, and you have magic.”
Indeed, the documentary delivers on the intense and deliberately uncomfortable interviews that Fielder, a Canadian who was born in Vancouver, became known for on shows like Nathan for You, as well as his paradigm-shifting approach to the truth.
Hart calls the documentary a theatrical experience few people will have ever had — one that may lead audiences to question what we think of as the truth.
Another win for A24
You Can See Everything was distributed and partly produced by A24, the same company behind some of this year’s most talked-about films, including Olivia Wilde’s The Invite, the Anthony Bourdain biopic Tony and the record-breaking horror Backrooms.
“A24 is a distributor that has a brand. And that brand is — to my mind — working with auteurs, working with writer-directors or even just directors that really have a specific vision and have a strong, strong artistry associated with them,” said Hart.
Nathan Fielder’s You Can See Everything gazes into the abyss of Elizabeth Holmes.
The documentary about the jailed Theranos founder examines the absurd nature of truth.
She said that’s helped A24 make a splash, as the company pushes back against the general consensus that Hollywood has no new ideas.
As a movie lover, Hart said she is grateful for anything that gets people back in the theatres and talking about what they’ve seen. She says You Can See Everything is a great example of that.
“They’re, like, shocked and surprised or walking out of the theater with all kinds of thoughts and ideas and questions. Because let’s be clear, this movie does not tie anything up with a nice pretty bow. It does not. So people have questions.
“And I think that that is a really thrilling experience for people to share with strangers. ”
