Nathan Fielder's 'You Can See Everything' documentary with Elizabeth Holmes is an Oscar Contender

The Telluride Film Festival recently surprised attendees with the unannounced premiere of "You Can See Everything," an extraordinary documentary co-directed by Nathan Fielder and Lance Oppenheim. This innovative film delves into the story of Elizabeth Holmes, the controversial founder of Theranos, and is sparking considerable debate regarding its potential for Academy Award recognition. Its unique blend of factual storytelling with staged reenactments, featuring a prominent Hollywood actress, challenges traditional documentary formats and has ignited conversations about eligibility for major categories such as Best Picture and Best Supporting Actress.

The Telluride Film Festival is renowned for its discreet nature, often keeping its program under wraps until the last moment. This year, however, the festival outdid itself by maintaining complete secrecy surrounding a "surprise screening" scheduled for Sunday evening at the Werner Herzog Theatre, its largest venue. Despite the usual efforts of keen observers to uncover such details beforehand, the identity of this particular film remained a mystery. Attendees had only a few clues: it was a feature-length film, not previously listed in the official lineup, had not been shown at any other festival, and its primary creative talents would be present.

Anticipation reached a fever pitch, fueling rampant speculation among festival-goers. Initial rumors suggested a world premiere for Alejandro González Iñárritu and Tom Cruise's "Digger," given Iñárritu's history with the festival and Cruise's local ties. Other whispers pointed to a project involving cellist Yo-Yo Ma, who was in town. However, when news broke that the film was an A24 production, attention shifted towards Frank Ocean's long-rumored directorial debut with the studio. Amidst this flurry of conjecture, a select few publicists and journalists hinted at knowing the film's true identity, but were bound by non-disclosure agreements, only adding to the intrigue.

The evening of the screening brought an unusual layer of security: attendees were required to secure their mobile phones in Yondr pouches before entering the theater. Once inside, the theater manager expressed unprecedented excitement, even for his two decades at the festival. Finally, festival director Julie Huntsinger unveiled the secret: the world premiere of "You Can See Everything." This unconventional documentary, helmed by Nathan Fielder, known for his unique blend of reality and staged scenarios in "Nathan for You" and "The Rehearsal," and Lance Oppenheim, focused on Elizabeth Holmes, the perplexing figure behind Theranos.

During a post-screening discussion, Fielder and Oppenheim, joined by Emma Stone, Fielder's co-star from "The Curse" who moderated the Q&A, disclosed how the project came to fruition. They learned that Holmes and her husband, Billy Evans, were open to participating in a documentary before her impending prison sentence in 2023. Collaborating with A24, the filmmakers successfully pitched their vision to Holmes and Evans, gaining extensive access to the couple for 34 days leading up to Holmes's surrender. The terms of this access, it was revealed, became a significant element within the film itself.

In a style reminiscent of his previous works, Fielder became an integral part of "You Can See Everything," a development he claimed was unintentional. Yet, in this scenario, he was not the most awkward presence. The film evolves into a bizarre and compelling portrayal of Holmes, her relationship with Evans, and their perception of the truth. It captures their unwavering assertion of innocence and their surprising aspirations to resurrect Theranos, all while Fielder and his film crew resided in their rental home, with Fielder living in their guest house. Poignantly, Fielder is the last person Holmes embraces before departing for prison.

The film takes an even more surreal turn with the introduction of an A-list actress, whose identity the filmmakers and festival requested remain confidential. This actress, a past Oscar nominee, becomes deeply involved after meeting Fielder, growing increasingly curious about Holmes's narrative. Astonishingly, she transitions into a full collaborator, appearing throughout the film providing commentary on the unfolding absurdity and participating in reenactments of Holmes's life, a signature technique of Fielder's to make sense of complex situations. The result is a profoundly entertaining and unexpectedly insightful cinematic experience that resonated strongly with the Sunday audience.

The groundbreaking nature of "You Can See Everything", blending documentary with dramatic acting, raises significant questions about its awards season prospects. While it shares some thematic similarities with films like "Borat," its approach remains distinct. The Academy's rules for the 99th Oscars confirm the film's eligibility as a documentary feature, allowing for reenactments as long as the emphasis is on fact. However, the documentary branch has historically shown resistance to such narrative devices, often overlooking critically acclaimed films that incorporate reenactments. This historical precedent suggests a potential hurdle for the film in the documentary categories.

Despite potential challenges within the documentary branch, the film's creators and A24 might consider pursuing a Best Picture nomination from the full Academy, whose diverse membership could be more receptive to innovative formats. The Academy's recent openness to diverse films, including a non-English language film winning Best Picture and the first transgender acting nominee, indicates a shift towards embracing unconventional works. Furthermore, a compelling case could be made for the A-list actress involved to receive a Best Supporting Actress nomination. Academy rules state that documentary features can qualify for awards in other categories if requirements are met, and the actors' branch executive committee has the authority to resolve eligibility questions. Given these factors, a bold campaign for "You Can See Everything" across multiple categories appears not only feasible but strategically sound.