The Wasteland Reviewer

You Can See Everything (2026) Written Review

What does unique and groundbreaking filmmaker Nathan Fielder have up his sleeve next? Fielder is one of the most creative and dynamic creatives in the realm of film and television today. He takes a metacontextual approach to storytelling that offers up an experience that is just unmatched. Fielder’s new film, You Can See Everything, just might be one of his most ambitious turns yet. Teaming up with documentarian Lance Oppenheim (fresh off his narrative debut of Primetime), Fielder peaks into the life of one of the premiere grifters and con artists in the past 25 years…Elizabeth Holmes. Charged with humongous amounts of fraud, Holmes attempts to stand her ground and share her narrative. But You Can See Everything pits two incredibly talented manipulators against each other in the documentary experience of the year. 

What do Oppenheim and Fielder bring to the table on the technical end of things? You immediately feel the impact of how this film is shot. Cinematographer David Bolen delivers a wholly engrossing experience with how the camera captures this uncomfortable situation for almost three hours. The aspect ratio is claustrophobic and uncomfortable with the boxed in framing. This choice aids in capturing the intimacy of this film as well as captures the discomfort that Fielder is crafting. The film is full of close-ups that put the subjects (Holmes and Evans) as well as the observer (Fielder) in such a precarious position. There is something quite striking about how up close and personal the entire experience the film is. The film also has a textured feeling that gives it a home video type of atmosphere which makes the experience even more engrossing. Another significant aspect on the filmmaking side of things is editing. Now the editing in many Fielder projects is a powerful element. You Can See Everything struggles with the same issues that plague most of Fielder’s projects. His goal to ratchet up the discomfort involved holding onto scenes and moments way longer than you should. For a nearly three-hour experience, the film feels a bit belaboring (especially in the first half of the film). Once the focus shifts gears, the film’s pacing picks up and Fielder and Oppenheim capture quite a bit of intensity and suspense. The element of the editing that really shines is the placement of shots. Adam Locke-Norton (the editor) captures Fielder and Oppenheim’s vision. The capturing of tranquility in Holmes’ life broken up but looming shots of Fielder is disconcerting and unnerving (in the most purposeful and impactful way). 

How do you process what happens in You Can See Everything? Like any Fielder project, revealing all the mechanisms would certainly weaken the overall effect of the experience. The film begins with an intimate peek into the life of Holmes. The last 34 days before her prison stay. Fielder slowly pushes buttons to explore the “truth” behind Holmes and her venture with Theranos. What is on display is sparring between two master manipulators. Fielder’s awkward prodding is present while Holmes leverages emotional warfare to deflect Fielder’s attempts. The film is such a unique exploration of truth, and the great lengths people will go to command their narrative (whether true or not). Fielder and Oppenheim both know how to capture such uncomfortable layers of human existence. Evans and Fielder have plenty of conflict which ratchets up the tension in the back half of the film. If You Can See Everything continued to be a more straightforward documentary like it is in the first half, this film would probably feel disappointing. But Fielder and Oppenheim have plenty of surprises up their sleeves. The leveraging of The Dropout from Hulu in a metacontextual way opens the door for more of Fielder’s unique manipulations of reality. You Can See Everything is nothing short of a fascinating psychological expedition by Fielder to fracture the façade and discover where the real Holmes is behind her narrative and what is true amongst all the manipulation.

Would you normally critique the acting in a documentary? That seems like an odd scenario, but it is important to navigate the “characters” that fill out this film. Fielder is the same awkward, abrasive, and intrusive presence that he always is. You witness his mind games and barbed prodding while never knowing exactly what his full intentions are. Looming and mysterious, Fielder’s presence automatically ups the ante with this twisted game of manipulation and extrapolation. Holmes is an enigma as well. Her wide-eyed intensity makes the whole experience feel so unnerving. The way she stares so powerfully penetrates your cool and puts you on edge. Whether genuine or an act, Holmes dumps emotional baggage on Fielder and the audience throughout the experience. There is some unique tension between these two master manipulators, and it makes the experience so engrossing. Evans is some who you understand quite quickly as he has a chip on his shoulder from the start. Fielder is so good at pushing buttons and quickly breaks the weak façade that Evans is attempting to craft. Evans quickly becomes an antagonistic force, and his anger becomes a driving force of tension and drama in the film’s back half. There is one “real” actor involved in the experience that is quite an intriguing and unique choice…which will be a pleasant surprise when you experience the film. 

What is You Can See Everything? The “what” question is always prevalent when it comes to Fielder’s work. One of the most unique storytellers working today has cracked the frequency of so many cinephiles’ passion for filmmaking. Even if his bold, creative, and manipulative approach is not your thing, You Can See Everything is such a powerful force that it is hard to deny. The psychological boxing match between Fielder and Holmes makes for one of the most compelling conflicts in film this year. This film didn’t need to be three hours, but you soon forget the runtime when you are dragged into this perplexing web of truth, narratives, and manipulation.