The Mac Weekly Reviewer Calls 'You Can See Everything' a Masterpiece

A new documentary titled “You Can See Everything” explores the psychological complexities of former Theranos founder Elizabeth Holmes, according to a review in The Mac Weekly.

The film, directed by Nathan Fielder and Lance Oppenheim, moves beyond the standard true-crime procedural to examine the mindset of a woman who orchestrated one of the most significant corporate frauds in modern history. While the public is well-acquainted with the mechanics of the Theranos scandal—the faulty blood-testing technology and the subsequent legal fallout—the documentary seeks to probe the human elements behind the deception.

The reviewer for The Mac Weekly describes the production as a “mind-bending film” that challenges the viewer’s ability to judge its subjects. By shifting between the immediate aftermath of the fraud and the subsequent realities of incarceration, the filmmakers attempt to strip away easy answers regarding Holmes’s character and motivations.

The narrative structure of the documentary is divided into two distinct temporal phases. The first half focuses on the days leading up to Holmes being taken to jail for defrauding investors. During this period, Fielder conducts interviews with Holmes and her partner, Billy Evans, to explore her perspective on the collapse of her company.

In the second half, the film jumps forward two years. This segment transitions away from traditional documentary conventions, adopting a more abstract approach to depict Holmes’s life in prison and the impact of her absence on her family. This structural pivot is designed to create a sense of unease, leaving the audience in a state of “limbo” regarding their understanding of the central figures.

The film intentionally avoids providing a definitive verdict on Holmes. It presents conflicting interpretations of her actions, questioning whether she is an individual who made a catastrophic error or someone who actively sought to exploit others. This ambiguity is not limited to the subject; the film also casts doubt on the reliability of Fielder’s own perspective by the time the credits roll.

Visual storytelling plays a critical role in the film’s ability to unsettle the audience. The reviewer highlights the work of cinematographer David Bolen, noting a heavy reliance on extreme close-ups of faces, particularly the eyes. This technique is used to create an “uncanniness” that suggests a reality where nothing is quite as it appears.

These tight, intense shots are frequently contrasted with expansive, sweeping cinematography. Much of the initial footage is set against the backdrop of a San Diego beach, where wide shots of Holmes and her family playing in the water provide a visual reprieve from the claustrophobic close-ups. These scenes offer a stark contrast to the tension of the interview segments, emphasizing the domestic normalcy that existed alongside the unfolding corporate crisis.

“This film never lets you know exactly what it’s trying to be, and that is reflected in the way our major players, Holmes and Fielder, are portrayed,” the reviewer told The Mac Weekly.

The documentary ultimately functions as a subversion of its own title. While “You Can See Everything” suggests total transparency, the reviewer argues that the film’s core message is the exact opposite: that true understanding remains elusive. The film leaves viewers to grapple with the emotional spectrum of laughter, cringe, and fury, often without the guidance of a clear moral compass.

The reviewer concludes by stating that the film is a “beautifully crafted masterpiece” that leaves the viewer shocked and confused long after the viewing ends.

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