A24's first full trailer for You Can See Everything has turned an already unusual project into one of the year's most talked-about documentary releases. The film, made by Nathan Fielder and Lance Oppenheim, follows convicted Theranos founder Elizabeth Holmes during the final weeks before she began serving her prison sentence, and the trailer suggests a work that is as much about performance, self-mythology and control as it is about the collapse of a Silicon Valley empire.
The documentary was shot secretly over three years after Holmes invited the filmmakers into her home 34 days before she was due to report to prison. That unusual access appears to have shaped a film that moves far beyond the standard true-crime or business-collapse narrative. Instead, the trailer presents a disquieting domestic portrait in which Holmes, her partner William "Billy" Evans and their children become part of a story that is constantly questioning what is being observed, what is being staged and what, if anything, is being revealed.
The trailer opens with Fielder pressing Holmes on the central question that has shadowed her since her conviction for fraud. "You really feel you did nothing wrong?" he asks. Holmes answers, "I did not." When he follows up by asking how she ended up where she is, she replies, "I wish I knew, you know? I don't know. I don't feel like I understand that." The exchange immediately establishes the film's uneasy tone: Fielder, known for his deadpan, confrontational style, pushes for clarity while Holmes appears to maintain the same account of events she has offered publicly for years.
The film's access extends into the domestic sphere, where Holmes' relationship with Evans and the future of Theranos become part of the documentary's emotional terrain. The trailer also introduces Evans, whom Fielder questions about whether he had concerns about being deceived. "Were you afraid of being scammed?" he asks, prompting Evans to reflect on the different levels of wealth he grew up around. The exchange hints at a broader inquiry into privilege, trust and the social insulation that can surround high-profile fraud.
As the trailer unfolds, it becomes increasingly difficult to separate documentary observation from performance. The film mixes direct interviews, intimate family footage and staged recreations, a structure that the New York Film Festival has described as deliberately testing the boundaries between documentary and fiction. Holmes is shown saying she has "nothing to hide," while another moment finds her discussing how difficult it is for her to let people see her cry. The trailer ends on an image of Holmes shedding a tear, but the context is withheld, preserving the film's central ambiguity.
That ambiguity appears to be the point. Fielder's work on Nathan for You and The Rehearsal has long explored constructed reality, social discomfort and the instability of authenticity, and You Can See Everything marks his feature directorial debut in that same vein. Oppenheim, whose previous work includes Some Kind of Heaven and Primetime, brings a documentary sensibility that seems equally interested in the emotional architecture of its subjects as in the facts of their public downfall.
The filmmakers have also kept several elements under wraps, including the identity of an unnamed A-list actress whose involvement has been described as one of the film's major surprises. At 174 minutes, the documentary is unusually long for a project of this kind, suggesting an expansive and possibly destabilising portrait rather than a conventional investigative account.
The film premiered as a surprise screening at the Telluride Film Festival earlier this month and is set for its New York premiere at the 64th New York Film Festival on September 30 before opening in U.S. theatres on October 16. For now, the trailer leaves viewers with more questions than answers — about Holmes, about Fielder's role in the story and about how much of what appears on screen can really be trusted.