Nathan Fielder's Elizabeth Holmes Documentary Captivates NYFF Audience
At the New York Film Festival, the debut of Nathan Fielder and Lance Oppenheim's documentary, "You Can See Everything," which explores the story of Elizabeth Holmes, ignited a lively discussion among attendees. Until this screening, only those at Telluride had seen the developing cinematic event, but its presentation at Lincoln Center provided a preview of what's to come when the acclaimed film is released in just over two weeks. The 1,100-strong sophisticated audience reacted with fervent cheers to each plot twist, as if watching a blockbuster, not a three-hour documentary about a disgraced tech figure. NYFF programming director Dennis Lim aptly summarized the film's intensity, stating that it offers "three hours of that" exhilarating experience glimpsed in its viral teaser.
The filmmakers expressed a desire for viewers to maintain the sense of discovery they experienced during production, urging the audience to avoid revealing plot details. This request may be less challenging for viewers, given the film's structure. For its initial two hours, the documentary presents a relatively conventional exploration of the convicted Theranos founder before her incarceration in 2023. Fielder probes Holmes with numerous questions in her home, where she consistently claims veracity, yet frequently appears to withhold complete information. The final hour of the film takes a decidedly unconventional turn, and while audiences are encouraged to keep its specific formal innovations under wraps, knowledge of these elements does not diminish the sheer, unexpected delight of the viewing experience. Similar to much of Fielder's prior work, the film's essence is difficult to spoil; its unique impact must be experienced directly, akin to tasting ice cream rather than merely describing its texture.
Fielder revealed that he spent months filming Holmes, uncertain if the project would yield a compelling narrative, as he initially believed her story had already been exhaustively covered. A24, who proposed the idea after meeting Holmes, even offered him an unconditional exit option if he felt the material was insufficient. The unique dynamic between Fielder and Holmes, who was reportedly unfamiliar with his previous work, makes her decision to participate particularly intriguing. One might question why a figure seeking image rehabilitation would choose a director known for psychological manipulation in "The Rehearsal." Yet, this pairing proves remarkably fitting, as Fielder, an artist who masterfully layers reality and subverts expectations, confronts a woman who spent a decade performing similar feats with some of the world's most influential individuals. Ultimately, the film examines the nature of human identity and the curated personas we present. The most poignant revelation, almost casually delivered by Holmes' father, offers a profound insight into her character, yet, in classic Fielder fashion, is left unexplored, contributing to the film's enigmatic allure. Upon leaving the screening, attendees, myself included, received promotional buttons proclaiming, "I've Seen Everything," encapsulating the paradoxical experience of witnessing a great deal while still grappling with its meaning.
