Co-directed by Nathan Fielder and Lance Oppenheim, You Can See Everything follows Elizabeth Holmes — the Theranos founder — through the 34 days leading up to her prison surrender, then returns to her life three years into that sentence. Critics have placed the documentary among the year's most praised films across multiple reviewing outlets.

The footage offers a window into a personal and notably rare phase of the founder's post-conviction life. Facing a custodial sentence, Holmes granted a documentary crew access to her home, allowing them to trail her through the routines of daily life — footage that anchors the film's opening section.

Over the span of three years, what began as a close-up personal portrait expanded into something far wider in scope. The two sections of the project were drawn together into a unified work by Fielder and Oppenheim.

The documentary's opening section covers the stretch leading up to her prison reporting date — drawing in the family environment around her at the time, her two young children among those at the centre of it — while also laying out a project she and her husband, Billy Evans, were working on together during that period. The extent of Fielder's on-screen presence had not been part of the original plan, yet the dynamic that developed between him and the couple led to a more prominent role than initially envisioned. His visible participation in front of the camera functions as one more thread woven into a narrative that was already layered before filming began.

Prior documentaries on Holmes tended to focus on the more unconventional aspects of her public persona, whereas You Can See Everything takes a different path — one built on behind-the-scenes access that filmmakers working through a period of this kind have rarely been able to secure. Coverage of Theranos — spanning news reports, television programmes, and documentary films about the company and its founder — has kept the story in the public eye following the organisation's downfall.

The prosecution in the Holmes case brought forward multiple individuals who had suffered direct financial harm — people whose losses reflected a pattern that researchers and law enforcement have long associated with white-collar offending.

Portions of the audience have described the documentary's latter half — covering a reunion staged three years later — as departing from methods previously seen in the genre. Spanning close to three hours when both parts are taken together, the film's dual-section structure has drawn assessments from reviewers who found that length warranted by what the work delivers.

Critics writing about You Can See Everything have placed it among the year's more discussed releases — not only within documentary circles but across the broader film landscape — with a handful going so far as to argue the work could alter how the genre is categorised and taught.