Nathan Fielder’s ‘You Can See Everything’ Trailer Arrives

A24 has released the full trailer for You Can See Everything, the new documentary directed by Nathan Fielder and Lance Oppenheim. The film follows Elizabeth Holmes around the period before she began serving her prison sentence and expands into a three-year examination of her life and public persona.

The preview is deliberately tense. Fielder appears on camera as both filmmaker and skeptical participant, while Holmes answers questions about her motives, family and version of events. The result is presented less like a conventional profile than a study of access, performance and trust.

A secret production steps into view

The documentary was made largely out of public sight before emerging as a surprise screening at the 2026 Telluride Film Festival. Fielder, best known for building elaborate reality experiments in Nathan for You and The Rehearsal, is making his feature-directing debut. Oppenheim brings documentary experience from projects including Some Kind of Heaven and Ren Faire.

According to the film’s official synopsis carried with the trailer, the crew began filming 34 days before Holmes reported to prison. What starts as an intimate portrait then extends far beyond that countdown, giving the filmmakers room to examine how their subject attempts to shape the story being told about her.

The trailer avoids offering a neat verdict. Instead, it emphasizes uncomfortable pauses, competing interpretations and moments when the boundary between observer and subject seems unstable. Early online reactions have focused on that unsettling tone, with some viewers comparing the footage to a horror film despite its documentary format.

Release date and expectations

You Can See Everything is scheduled to open in select U.S. theaters on October 16. A UK release date had not been announced when the trailer appeared.

The new footage positions the film as a collision between Fielder’s fascination with constructed reality and one of the most scrutinized business scandals of the past decade. Its central question is not simply what Holmes says on camera, but what happens when a subject who understands publicity invites filmmakers into a tightly controlled private space.