‘A cultural moment’: smash hit doc You Can See Everything continues to dazzle America
Why This Matters
Key context: <p>Nathan Fielder’s three-hour Elizabeth Holmes film has become a pop culture phenomenon but at a sold-out Times Square screening, no one was quite sure what to think</p><ul><li><p><a href="https://www.theguardian.com/film/2026/oct/22/you-can-see-everything-elizabeth-holmes-billy-evans-villain">In You Can See Everything, it’s Elizabeth Holmes’s partner who makes for 2026’s timeliest villain</a></p></li><li><p><a href="https://www.theguardian.com/film/2026/oct/19/you-can-see-everything-movie-spoilers-success">Secrets, lies and a shock A-list cameo: how You Can See Everything became the film of the year</a></p></li></ul><p>When I see a film a second time during its theatrical run, it’s typically to take someone else who hasn’t yet seen it, at least in part hoping to witness their reaction to a piece of art that excited or moved me in some way. Seeing Lance Oppenheim and Nathan Fielder’s <a href="https://www.theguardian.com/film/2026/oct/01/you-can-see-everything-movie-review">You Can See Everything</a> a second time in New York City on a Saturday night was that impulse writ larger. This is a movie garnering a surprisingly sizable audience, and outsized audience reactions to go along with it; rewatching it in a full 300-seat auditorium offered the opportunity to re-experience that sense of discovery. Perhaps more to the point, almost everyone I knew had seen it already; all I could do was observe strangers.</p><p>This documentary, peering into (and helping to create) a hall of mirrors around the famed med-tech scammer Elizabeth Holmes, has become the box office story of the fall, actually rising 25% on its second weekend to gross another $19.5m – a rare feat even given its expanded screen count. With over $45m in North America, it’s already one of A24’s biggest movies ever; it could wind up in the company’s top three, and way up on the list of the highest-grossing nonfiction features. If You Can See Everything isn’t quite an <a href="https://www.theguardian.com/film/2026/jun/12/obsession-horror-film-hollywood">Obsession</a>-level cash cow, it’s probably even more surprising that a three-hour documentary whose existence was only announced about eight weeks ago is on track to make more money than high-profile new releases like Practical Magic 2, Verity and Street Fighter, among others. It’s also outgrossed co-director Oppenheim’s fellow A24 surprise hit <a href="https://www.theguardian.com/film/2026/sep/07/primetime-review-robert-pattinson-venice-film-festival-lance-oppenheim">Primetime</a>, which has the benefit of genuine movie star Robert Pattinson.</p> <a href="https://www.theguardian.com/film/2026/oct/26/you-can-see-everything-cultural-moment">Continue reading...</a> This development from The Guardian highlights ongoing changes in the sector.
Nathan Fielder’s three-hour Elizabeth Holmes film has become a pop culture phenomenon but at a sold-out Times Square screening, no one was quite sure what to thinkIn You Can See Everything, it’s Elizabeth Holmes’s partner who makes for 2026’s timeliest villainSecrets, lies and a shock A-list cameo: how You Can See Everything became the film of the yearWhen I see a film a second time during its theatrical run, it’s typically to take someone else who hasn’t yet seen it, at least in part hoping to witness their reaction to a piece of art that excited or moved me in some way. Seeing Lance Oppenheim and Nathan Fielder’s You Can See Everything a second time in New York City on a Saturday night was that impulse writ larger. This is a movie garnering a surprisingly sizable audience, and outsized audience reactions to go along with it; rewatching it in a full 300-seat auditorium offered the opportunity to re-experience that sense of discovery. Perhaps more to the point, almost everyone I knew had seen it already; all I could do was observe strangers.This documentary, peering into (and helping to create) a hall of mirrors around the famed med-tech scammer Elizabeth Holmes, has become the box office story of the fall, actually rising 25% on its second weekend to gross another $19.5m – a rare feat even given its expanded screen count. With over $45m in North America, it’s already one of A24’s biggest movies ever; it could wind up in the company’s top three, and way up on the list of the highest-grossing nonfiction features. If You Can See Everything isn’t quite an Obsession-level cash cow, it’s probably even more surprising that a three-hour documentary whose existence was only announced about eight weeks ago is on track to make more money than high-profile new releases like Practical Magic 2, Verity and Street Fighter, among others. It’s also outgrossed co-director Oppenheim’s fellow A24 surprise hit Primetime, which has the benefit of genuine movie star Robert Pattinson. Continue reading...
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