You Can See Everything Is Probably the Best Film of 2026

SPOILER WARNING: This review may contain spoilers for the film You Can See Everything.

Making sweeping statements like “the best film of the year” is probably not a good idea, especially when the year is far from over. So, for insurance, I put “probably” in the title. But having had a week to sit with You Can See Everything, Nathan Fielder and Lance Oppenheim’s much-buzzed-about documentary, which I saw at a small advance screening, I’m almost certain that it will remain at the top of my personal “best” list. And yes, I’ve watched La Bola Negra and loved it.

The film follows Fielder as he observes and enters the home of disgraced Theranos founder Elizabeth Holmes, who defrauded investors of more than $100 million through her blood-testing scheme, and her partner, Billy Evans, just 34 days before she is due to begin serving a 10-year prison sentence. Without spoiling anything major, because this is a film best seen knowing as little about it as possible, Fielder doesn’t necessarily “see everything,” as the title suggests. But he does begin to question everything, not only about Holmes, but also about Evans and his role as an erratic, controlling partner to one of the most complicated women in American history.

Fielder, known for his deadpan humor and wildly unconventional social experiments, brings a particularly interesting sensibility to a project like this. If you’ve seen his TV shows (and you really should…what are you waiting for?), you’ll understand almost immediately why he’s such a good fit. His intelligent approach to comedy is especially suited to the documentary’s unusual premise, drawing on the style he perfected in his Comedy Central series Nathan for You, where he comes up with increasingly outlandish schemes to help struggling businesses.

In his work, Fielder constantly plays with the boundaries between performance and reality, blurring the line between the two in ways that feel especially suited to You Can See Everything. It’s a particularly effective approach when dealing with subjects like Holmes and Evans, whose authenticity both the audience and filmmakers are continually left questioning: Are they being real right now? And in true Fielder fashion, halfway through the film, he pulls off a major, unexpected twist that truly had people in the cinema gasping, first at the sheer novelty of it, and then as the implications of what he’s doing begin to sink in.

I admit, I already knew about the twist long before seeing the film. As someone who is perpetually online on Film Twitter (or should we call it Film X now?), I’ve seen the major reveal circulated countless times by overzealous fans recording their screenings or discussing the movie’s Oscar chances. Still, experiencing it in real time, especially after spending nearly three hours with these people, makes it hard not to be completely taken in by it all. 

That’s what I love most about You Can See Everything. It has the confidence to take risks and venture into territory that feels entirely different from anything you’ve seen before. You see headlines everywhere declaring that “this is redefining the documentary,” and, to be honest, they’re not wrong. Fielder and Oppenheim have created an absolutely fascinating portrait of a highly publicized figure who has been discussed endlessly in the media (including a Hulu miniseries). And yet, without narration or even those clichéd talking heads feeding the audience information, you come away having learned so much about Holmes, Theranos, Evans, and everything in between. (Or did you really? Wink, wink.). 

The fact that the film itself is also incredibly well made is a bonus. It hits all the right cinematic beats: the cinematography by David Bole is beautiful, intimate, and occasionally unsettling. The narrative structure, coupled with Adam Locke-Norton’s sharp editing, turns this nearly three-hour portrait into a carefully constructed piece of entertainment, one whose runtime you hardly feel. And then there’s the twist, which introduces one of the most fascinating structural devices I’ve seen in a documentary, and will probably earn a certain performer an Oscar nomination.

It’s difficult to talk about the film without giving too much away, so perhaps I’ll go more in-depth later, when more people have had a chance to see it. But the truth of the matter is, You Can See Everything is truly a masterpiece, and I do not use that word lightly. You’ll just have to see it for yourself when it hits cinemas later this month.

You Can See Everything opens in Philippine theaters on October 18, 2026.