Analyzing the Documentary ‘You Can See Everything’

This image released by A24 shows Nathan Fielder, left, and Elizabeth Holmes in a scene from “You Can See Everything.” (A24 via AP)

Lance Oppenheim and Nathan Fielder’s documentary You Can See Everything addresses today’s cultural complexities. It does so by focusing on themes of deception and truth in the modern world. The film’s relevance is underscored by its success in gaining both audience and critical acclaim.

At its core, the documentary delves into the infamous Theranos debacle involving Elizabeth Holmes. It explores her attempt to reconstruct her private and public life after being labeled a fraud in the business community. Rather than focusing solely on Theranos, the film comments on the challenges we face in a world rife with misinformation, shaped by media and technology.

The film scrutinizes startup culture’s mantra of ‘fake it till you make it.’ Holmes emulated figures like Steve Jobs, adopting similar aesthetic choices. Her belief in the potential of unproven technology invites questions on the ethics of such optimism, especially when it intersects with fraud and significant financial investments.

Oppenheim and Fielder avoid reiterating Theranos’s already well-documented details. Instead, they focus on a moment when Holmes spoke with The New York Times in 2023. This key moment influences the documentary, probing whether Holmes’s actions reflect dishonesty or confusion. Fielder’s interpretation hints at skepticism, reminiscent of Larry David’s approach.

The limited filming time, set in a San Diego guest house, allowed Holmes and her partner, Billy Evans, to project a controlled narrative. This attempt at narrative management reflects a technique akin to ‘docu-washing,’ a strategy used by brands to shape public perception.

The documentary raises questions on Holmes’s personal motivations and circumstances. It entertains possibilities that Holmes might be misunderstood, impacted by trauma and manipulation, while Evans’s role remains ambiguous. His conduct, whether authentic or strategic, prompts inquiries on potential ulterior motives.

The documentary also examines the portrayal of Holmes in post-Theranos media, questioning the liberties taken by these adaptations. While creative license is common, it bears ethical considerations when depicting real individuals.

The ultimate strength of You Can See Everything lies in its introspective scrutiny. It not only examines the individuals at its center but critiques the broader economic and media environments. This reflective approach extends even to the filmmakers themselves, acknowledging the limits of perception.

The film leaves audiences contemplating the difference between seeing and truly understanding. Fielder and Oppenheim’s insight shows a keen awareness of these distinctions, underscoring their film’s impact.

Ian Chaffee is a technology and startup media relations consultant based in Los Angeles.