‘You Can See Everything’ Trailer: Fielder’s Holmes Doc Heads to October

A24 has released the first full-length trailer for You Can See Everything, Nathan Fielder and Lance Oppenheim’s documentary about Theranos founder Elizabeth Holmes, ahead of an October 16 theatrical opening, according to IndieWire. The film — which arrived at Telluride as a hush-hush secret screening and next plays the New York Film Festival on September 30 — embeds Fielder with Holmes and her partner Billy Evans in the tense stretch before she began an 11-year federal prison sentence, turning a familiar fraud saga into something stranger and more intimate.

IndieWire’s Kate Erbland framed the hook simply: it takes a certain kind of person to invite Nathan Fielder into the house on the eve of incarceration. The trailer leans into that discomfort, giving Evans extended, unsettling screentime and letting long silences do the work Fielder’s comedy fans already know from Nathan for You and The Rehearsal. Holmes’ story has already been dramatized in Hulu’s The Dropout and documented in Alex Gibney’s 2019 The Inventor; this project’s pitch is access plus ambiguity — what the filmmakers uncover, and what they deliberately leave unresolved, after years of secret shooting.

The Hollywood Reporter reported the same Wednesday drop, noting Holmes sheds at least one tear on camera and that the new cut is more revealing than an earlier teaser while still presenting as “an enigma wrapped in a mystery.” THR’s Telluride critic Angie Han described a film that begins as an intimate portrait of a “deluded or disingenuous scammer” and then turns “even wilder, more ambitious and less predictable,” especially once Holmes is imprisoned and control of her narrative slips. The second half, Han wrote, goes meta and almost surreal as other voices rush to fill the void.

Boiled down, Theranos once claimed hundreds of blood tests from a finger-prick on its Edison device, reaching a valuation near $9 billion before the company dissolved in 2018 amid revelations the technology could not deliver what Holmes sold, THR recounted. Holmes has continued to profess innocence alongside Evans; the documentary’s festival buzz suggests Fielder and Oppenheim are less interested in a tidy verdict than in watching how self-mythology behaves under house arrest and prison pressure. Select theaters already have tickets on sale, IndieWire noted, with nationwide tickets expected October 1 for the October 16 release.

For awards-season schedulers, the calendar is tight but deliberate: Telluride heat, NYFF Spotlight on September 30, then a mid-October platform that puts the doc in conversation with other nonfiction prestige titles rather than dumping it straight to streaming. A24’s involvement signals theatrical confidence in a story most audiences think they already know — which is exactly why the trailer sells unease over exposition. If the reviews hold, You Can See Everything is less a true-crime rehash than a controlled experiment in whether proximity to Holmes clarifies anything, or only multiplies the performances around her.

Festival programmers have treated the title as appointment viewing precisely because Fielder’s brand of controlled awkwardness rarely collides with a subject this infamous; IndieWire and The Hollywood Reporter both treat Wednesday’s trailer as the moment that collision becomes marketable beyond cinephile Twitter. Nationwide tickets arriving October 1 give casual viewers a clean window between NYFF chatter and opening weekend, a distribution rhythm A24 has used before when a festival secret needs a fast public conversion.

Hollywood’s recent appetite for founder-fraud storytelling meets Fielder’s signature method here: sit still long enough and people narrate themselves into trouble. That is the commercial and critical bet A24 is making with Wednesday’s trailer — not that Theranos needs another timeline, but that watching Holmes, Evans and Fielder share a frame in the final days of freedom is appointment viewing for October. Festival audiences already bought the ticket; the trailer’s job is to pull everyone else into the room before the lights go down on the 16th.