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# You Can (Not) See Everything, And That's The Best Part
- URL: https://aftermath.site/you-can-not-see-everything-nathan-fielder-elizabeth-holmes-lance-oppenheim-a24/
- Published: 2026-10-20T21:17:42.000Z
- Updated: 2026-10-20T21:17:42.000Z
- Description: You can’t worry about someone putting on a face for the camera if they never take their mask off IRL
- Author: Isaiah Colbert
- Tags: Movies, A24, nathan fielder, lance oppenheim, you can see everything, elizabeth holmes

Having watched their individual works, I can say with my whole chest that [Nathan Fielder](https://www.imdb.com/name/nm2358709/?ref%5F=nv%5Fsr%5Fsrsg%5F0%5Ftt%5F3%5Fnm%5F5%5Fin%5F0%5Fq%5FNathan%20Fielder&ref=aftermath.site) and [Lance Oppenheim](https://www.imdb.com/name/nm4565262/?ref=aftermath.site)’s A24 documentary, *You Can See Everything*, isn’t just their magnum opus. As a journalist, I found the film’s relentless, cathartic interrogation of integrity as documentarians to be why it might genuinely be the year’s best film. 

Once you’ve shot a documentary yourself, you can’t help but sniff out the kayfabe in other creative works. Having shot my own humble little [documentary in college about cosplayers](https://youtu.be/OOstK2g6c98?si=3Ado4GujLjH8uUCy&ref=aftermath.site), where I filmed a friend and a colleague they recommended to me, I watch documentaries with a nagging feeling about what was staged and what was candid. Like journalism, there are levels of closeness and trust that bring out candidness in folks. If you’re too polite, you risk getting safe answers instead of interesting ones. If your subjects are too used to being on camera, it's obvious when they’re trying too hard to look their best. Likewise, if they’re too camera-shy, filmmakers have to work overtime as documentarians to stage them in an interesting way or coax them out of their shell. In many ways, documentaries are like fishing: the story of not catching the fish can be more interesting than catching what you were throwing your line out for. 

Both Fielder and Oppenheimer have very specific approaches to the form, which complement each other in *You Can See Everything*. Oppenheim’s “thing” is capturing candor that shouldn’t be possible. As a documentarian, he has the uncanny ability to hover right at the boundary where performance slips and masks fall. Whether it’s the 2024 HBO Max documentary *Ren Faire*, charting a Renaissance fair’s succession drama, or his Hulu film *Spermworld*, documenting the shadow economy of backdoor sperm donors, he consistently pulls a level of closeness and forthcomingness from his subjects that feels, at times, like it should be impossible. Where any other documentarian would stagger the truth for a big reveal, nothing in Oppenheim’s work arrives with the shock, awe, and prestige of a magic trick. Instead, he instills a sense that the story was always going to unfold exactly as its first frames suggest. You’re just along for the ride. 

The unsettling yet strangely wholesome vibes I got from *Spermworld*’s donors and the women who sought them out online never felt like they existed across a binary. Oppenheim never deigns to moralize his subject. He just lays out their stories for viewers to absorb. Likewise, the level of candor he wrings out of *Ren Faire*’s sunsetting king, whom I can best describe as an Evil David Lynch, malding over fake breasts while on dates with goth baddies 70 years his junior in his crusade to die with a boner is a level of transparency Batman couldn’t beat out of me. As a documentarian, Oppenheim’s body of work always provokes the same follow‑up question: how the hell did he manage to film any of this, much less get his subjects to agree to it?

Fielder’s whole deal can be summed up as a comedian who commits so hard to the bit that reality breaks. In his business-tycoon farce, *Nathan For You*, he miraculously pulls off a series of IRL *Ed Edd n Eddy* schemes like Dumb Starbucks, with the effect of mild-mannered Sacha Barron Cohen if he wasn’t annoying. In *The Rehearsa*l, buddy takes his Russian Nesting Doll staging and re-planning events to an absurd extreme, hiring stunt actors and piloting a commercial airplane to make a point about pilot mental health. Fielder has made a career of being the “off guy,” lowering subjects’ guard until they slip up, reveal real things about themselves, and look weirder by comparison. 

[I Want All The Characters On The Curse, Who Are Horrible, To Keep Getting Worse - AftermathThe three lead characters of The Curse are vain and despicable, but that’s also what makes the show so hypnotic.![](https://storage.ghost.io/c/30/f5/30f5b1bb-84ee-4c26-b446-fb9a5e512994/content/images/icon/favicon4-9f3e0f27-46a0-4ec4-856d-853c25396350.png)AftermathGita Jackson![](https://storage.ghost.io/c/30/f5/30f5b1bb-84ee-4c26-b446-fb9a5e512994/content/images/thumbnail/curse1-3-353cb9d0-a044-427e-a1e1-eeb9ad04bcad.png)](https://aftermath.site/i-want-all-the-character-on-the-curse-who-are-horrible-to-keep-getting-worse/)

Fielder and Oppenheim’s “don’t think, feel” styles mesh so seamlessly that you stop questioning the Rube Goldberg-esque maneuvers likely happening behind the camera. Whether you like Fielder’s slightly egocentric method of committing to the bit until reality folds in on itself or not, both filmmakers are masters of emotional immersion. And honestly, the less you fret over how they pulled any of this off, the more you sink into what it reveals. It’s a lot like kayfabe in professional wrestling: even when the seams show, the thrill of human theater, when done well, won’t break your suspension of disbelief. *You Can See Everything* is the first time that curtain actually lifts for Fielder and Oppenheim. 

Why on God’s blue earth would Holmes, a serial liar, agree to having them film inside her house days before she’s bound for a federal prison for 11 years for defrauding investors with her snake oil ass medical contraption? Fielder repeatedly brings up the question, asking her if she knows what he’s known for. It’s also a question I had rattling in my head long before I hunkered down for a nearly three-hour out-of-body cinematic experience. Maybe, in her hubris, she didn’t do her research. She’s dumb enough to be in this situation in the first place, so that wouldn’t be too far-fetched a scenario. I walked into the film, as I assume many familiar with Fielder’s work as a professional liar did, expecting a face-off between a fake demon and a real one. Instead, Holmes becomes the first to fight back, turning what I expected to be light work for a man with jester’s privilege and a director capable of capturing everything, only to find an imperfect, though aggressive, victim.

![You Can See Everything still of Nathan Fielder standing behind Elizabeth Holmes as she talks to her baby (sitting on the kitchen counter!).](https://storage.ghost.io/c/30/f5/30f5b1bb-84ee-4c26-b446-fb9a5e512994/content/images/2026/10/you-can-see-everything-a24.jpg)

A24

Holmes’s inauthenticity is performed so sincerely that she flips the creator’s usual dynamic on its head. Now I’m thinking about everything I saw and didn’t see from either party. Instead of being unmasked, she and her husband attempt to unmask them—challenging their methods, authority, and objectivity. And for a moment, it works. The glossy, saturated sheen of Oppenheim’s filmmaking drops away, revealing camera operators and grips squeezed in a cramped house alongside Evans and Holmes. Fielder’s facade as the weirdest guy in the room is also stripped away. Instead of exposing Holmes as a liar, it exposes Holmes as someone who maybe, might genuinely be confused at how things got so bad. Fielder’s own confusion—staged or otherwise—about autistic audiences feeling a kinship with him in *The Rehearsal* season two loops back around here, almost garnering the same sympathy for Holmes. 

It feels like Oppenheim and Fielder are within a breath of seeing or hearing a real truth; the politeness imposed on them as guests in Holmes and Evans’ home instead jilts them. Even Fielder’s presence in *You Can See Everything*—waltzing into frame, sheepishly slinking around corners, and staring in porous extreme close-ups—lacks the jovial buffoonery of his past work and takes on a Robert Pattinson-level imposing stage presence from *Primetime*. I know he isn’t barking up the wrong tree, but somehow the documentary morphs into a *Death Note*\-style battle of wills where Holmes and Nathan duke it out to expose each other as phony throughout every predictable, absurd, and revealing turn. 

![You Can See Everything still of Nathan Fielder walking by Billy Evans, Elizabeth Holmes, and their baby (still sitting on the counter!).](https://storage.ghost.io/c/30/f5/30f5b1bb-84ee-4c26-b446-fb9a5e512994/content/images/2026/10/You-can-see-everything-a24--2-.jpg)

A24

There’s a line early in *You* *Can See Everything* that aphoristically explains why I loved every minute of the nearly three-hour out-of-body experience it put me through. In the scene, Fielder is visibly at his wits' end, argues semantics over the word “can” with Holmes and her daffy husband, Billy Evans. Just as Fielder and my theater audience felt a fleck of empathy for the serial liar, Evans opens his big fucking mouth, nods gently, and tells us, “I know how you feel.” Uncharacteristically, Fielder snaps back: “No, you don’t.” 

Oppenheim and Fielder complement each other like 2010s LeBron James and Dwayne Wade as filmmakers with elite bullshit detectors. Sure, Oppenheim had to compromise his mystique as a documentarian to stoop to Holmes' level on the whole culpable-deniability front, but as far as Fielder is concerned, *You Can See Everything* is his magnum opus, and I look forward to it upsetting [Christopher Nolan's *The Odyssey*](https://aftermath.site/the-odyssey-emily-wilson-christopher-nolan-action-movie/) come award season. 

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