In a recent discussion about their new documentary, “You Can See Everything,” filmmakers Nathan Fielder and Lance Oppenheim shared their perplexing experiences while working with Elizabeth Holmes and her partner, Billy Evans. The documentary chronicles the final 34 days before Holmes’ imprisonment in May 2023 for her role in the Theranos scandal. The conversation took place on 6 October in Los Angeles, moderated by comedian Bill Hader.
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Fielder expressed confusion regarding why Holmes and Evans invited them into their home during such a fraught period. Their initial hesitance only deepened during filming as they began to worry that the guest house where Fielder was staying might be bugged. “We were in like a conspiracy thriller of our own,” Oppenheim remarked, highlighting the peculiar atmosphere that surrounded the project.
As tensions escalated, Fielder revealed that the crew invested in a device meant to detect hidden recording equipment. However, it proved ineffective, continually beeping without providing any clarity. “Totally useless,” Oppenheim quipped, referring to their newfound paranoia stemming from Evans’ habit of secretly recording interviews for accuracy. Ultimately, despite their anxious musings, neither Fielder nor Oppenheim found any tangible evidence to support their suspicions.
Interestingly, Holmes had initially approached film studio A24 with the idea of documenting her life, indicating that their collaboration came at her behest. The filmmakers were unprepared for the emotionally charged environment they would navigate while filming. Fielder noted that Holmes and Evans had limited knowledge of his previous work, adding an air of mystery to their motivations for including the filmmakers in their lives during such an uncertain time.
“The kids are there. And I think a lot of times it got really emotional,” Fielder stated, reflecting on the challenges of balancing the demands of filmmaking with the raw emotions present within the household. He repeatedly assured Holmes and Evans that if they felt uncomfortable, the crew would gladly withdraw from filming. Surprisingly, despite moments of tension, the couple requested to continue.
As of their discussion on 6 October, Fielder and Oppenheim revealed that neither Holmes nor Evans had viewed the completed film. Communication issues arose during the editing process, particularly with Evans, who began exerting control over the project, making it difficult to maintain a collaborative dynamic. Fielder admitted this created discomfort not only for the filmmakers but also for A24 and the crew.
“You Can See Everything” aims to shine a light on a complex figure and a deeply flawed situation, navigating the intricacies of human emotion, ethical dilemmas, and the intersections of truth and performance. As audiences are drawn into the unfolding narrative, questions regarding the motivations of all parties involved linger, leaving viewers to ponder the nature of sincerity in the face of deception.
The documentary has already sparked considerable interest and is currently screening in theatres, inviting viewers to examine their perceptions of Holmes and the circumstances surrounding her story. As the filmmakers continue to process their unconventional experiences, the film serves as both a reflection on a remarkable story and a commentary on the inherent unpredictability of documenting real-life events.
In a world saturated with media telling tales of individual strife and downfall, “You Can See Everything” presents itself as a unique entry, raising vital questions not only about the subjects it portrays but also the responsibilities and challenges faced by those behind the camera. As the public and critics alike engage with the film, it is sure to foster discussions on the blurred lines between truth and performance within storytelling, especially in the realm of documentary filmmaking.