You Can See Everything – Holmes' shock‑tasting confession hits Telluride

The 2024 Telluride Film Festival opened its sneak‑premiere slate with a daring choice: the nearly three‑hour nonfiction feature *You Can See Everything*. Director Nathan Fielder and co‑director Lance Oppenheim let the world glimpse the saga of Elizabeth Holmes, founder of Theranos, and her partner Billy Evans.

The decision marked a risk for the festival, which traditionally favors fiction’s broader appeal.

## Background & Context

Festival chief Julie Huntsinger explained that programming a documentary as a sneak‑premiere “was a significant risk.” Nonfiction rarely draws the same crowds as fiction, but Huntsinger believed the story’s gravity could command attention.

As she prepared to announce the selection, a patron in the Werner Herzog Theater shouted “Digger!”—a reference to an anticipated Tom Cruise‑starring film by Alejandro G. Iñárritu. The shout fell flat, yet it underscored how unusual the choice was for Telluride.

Within 24 hours of the screening, word spread far beyond the town’s borders. A festival regular received a call from a person in Lake Charles, LA, asking whether they had made it to the exclusive showing. The buzz reached even strangers outside the city, with conversations continuing into Monday’s departures to the airport.

A publicist met near Colorado Avenue on Monday afternoon, boasting advance knowledge that *You Can See Everything* was the festival’s “super‑secret special film.” The two sat for a ten‑minute discussion of its two central figures: Holmes, who once boasted of revolutionary blood‑testing technology, and Evans, who would later become her co‑author in scandal.

The conversation quickly turned to speculation about Holmes’ motives and whether Evans was merely an accomplice or a controlling presence.

The film’s narrative follows Holmes from the height of her 2011 rise—when she attracted investors such as Larry Ellison and Rupert Murdoch—to her 2023 conviction for defrauding investors and subsequent prison term in Texas.

The documentary claims Holmes and Evans invited Fielder to observe their daily lives for “30‑some days” before her transfer to federal prison, a premise that adds an intimate layer to the story.

## What People Are Saying

The afterparty at La Marmotte—named after a stout ground squirrel—was a scene of enthusiastic applause and culinary indulgence. Directors and crew members exchanged praise amid cocktails, molten mushroom croquettes, and seared tuna cubes.

Fielder himself appeared dazed by the reception, remarking that the secrecy he maintained since before Holmes’ prison term had made the sudden spotlight disorienting. He was unsure whether A24 would take the film to another festival or push it straight to a theatrical release next month.

Emma Stone also attended, stepping in as moderator during the Q&A following the world premiere. Her performance drew commendation from a veteran journalist who approached Stone afterward, noting that actors typically do not excel at moderating.

Stone’s calm delivery helped steer the discussion toward Holmes’ troubled reputation, echoing her earlier depictions in Alex Gibney’s *The Inventor: Out for Blood in Silicon Valley* and the Hulu series *The Dropout*.

Audience reactions were palpable. The film’s nearly three‑hour runtime was punctuated by reaction shots of Fielder, who appears on camera trying to parse Holmes’ and Evans’ motives. His bewildered expressions generate repeated laughter, turning his confusion into a comedic focal point.

The film’s humor juxtaposes the grim reality of Holmes’ “catastrophic reputational damage” from the Theranos implosion.

Discussions after the screening were rife with debate. Fielder’s presence in the documentary forces viewers to confront questions about manipulation and control: Is Holmes truly an “unblinking” entrepreneur, or a manipulative figure capable of a “Jedi mind trick”?

Evans’ portrayal—pumping iron, flaunting private moments, and commenting on love‑making—adds a layer of tension about who truly dominates the partnership. The film leaves many viewers pondering whether the title *You Can See Everything* truly offers transparency in such murky waters.

## What Happens Next

While the film has already secured its Telluride debut, its future path remains uncertain. The directors have not confirmed whether A24 will acquire distribution rights or if the film will circulate at other festivals before a theatrical run.

Fielder himself expressed confusion over the next steps, noting that he “didn’t even know where the film would play next.”

The documentary’s release strategy may mirror previous distribution models for long‑form nonfiction, where festival screenings serve to generate buzz before a broader release. However, the subject matter’s complexity could influence the approach—whether to pair the film with a limited theatrical window or a streaming platform launch.

The filmmakers’ silence on these details leaves audiences speculating about upcoming availability.

The publicist who first revealed the film’s secret status also indicated that producers were still debating their own interpretations after daily shooting sessions. No single consensus emerged, illustrating how the documentary itself thrives on ambiguity.

As a result, potential viewers may find the film’s final message as elusive as Holmes’ own narrative of redemption.

The next chapter for *You Can See Everything* will likely involve a careful balance between maximizing audience reach and preserving the intimate, investigative tone that earned it praise at Telluride.

The film’s trajectory will be watched closely by those interested in both documentary filmmaking and the ongoing story of Theranos’ fallout.

In the wake of its premiere, the documentary has already sparked conversations that extend beyond the festival’s borders, proving that a well‑crafted nonfiction feature can ignite a national dialogue.