I fucking loved You Can See Everything. It’s difficult to fully describe the achievement Nathan Fielder and Lance Oppenheim have created here. I was fascinated. I laughed constantly. I was terrified. It transcends being just a documentary and veers into both a tense psychological thriller and something that feels like an episode of Fielder’s The Rehearsal. I only knew about Elizabeth Holmes from the Hulu series I watched and general knowledge from the internet, so I was curious what Fielder wanted to accomplish by meeting and living with this woman and her spouse. It’s nothing like I could’ve imagined or expected. Fielder is one of the most important artists of our time. There’s an actor who shows up midway through, and I thought they’d just be a cameo, but they become an integral part of the film. They ended up being one of my favorite parts and have amazing chemistry with Fielder. There are so many layers to this thing and so many things I’ll be deciphering for years. It’s incredible that despite all the time we spend with Holmes and her family, the “real” Holmes remains hidden behind layers of performance, weirdness, media artifacts, and self-mythology. It blurs the line between genuine human emotion and calculated performance, questioning whether moments of vulnerability or radical honesty are authentic or carefully masterminded. If you love Fielder’s brand of comedy like I do, you won’t be disappointed here. The serious, clinical, and sometimes painfully uncomfortable social situations and questions create so much wonderful and bizarre comedic tension. It’s amazing that even when Holmes leaves the film, it somehow becomes even more tense. That final shot was incredibly haunting. What a brilliant, brilliant film.