You Can See Everything

The film starts 34 days before Elizabeth Holmes, the notorious Silicon Valley founder, is sent to prison. She invites a skeptical film crew to document her every move. The synopsis promises an intimate portrait of an enigmatic felon that turns into a three-year journey it calls mind-bending. The premise is strong, but the 174-minute runtime means the pacing over that span is the real test.

As a documentary, it centres on real people playing themselves, led by Elizabeth Holmes and co-director Nathan Fielder, with Billy Evans also credited as himself. The cast list also names Amanda Seyfried as 'Self / Elizabeth Holmes' and Christopher Abbott as 'Self / Billy Evans'. That suggests the film plays with performance and identity, though I can't say how it does so or how well. Judged on what the credits show, the casting is unusual and interesting.

Nathan Fielder and Lance Oppenheim share directing duties, and both also appear on screen as themselves, so the filmmakers are part of the story. The premise of a crew that begins skeptical and stays on for three years points to a patient, observational approach. The 174-minute length is ambitious for a documentary, and the early external response is strongly positive, so the direction looks confident.

Ari Balouzian is credited as music director. I have no details on the score's style or on specific cues, so I can't say how it shapes the film's tone. The credit is a reasonable sign of a considered soundtrack, but I'm keeping this assessment modest.

This is a documentary, and nothing in the facts points to visual effects as a selling point. Any craft worth noting is likely in photography and editing rather than effects work. I can't comment on the technical finish beyond A24's involvement as a production house.

The external rating is 9.1 from only 31 votes, which is encouraging but too small a sample to treat as a consensus. There is no audience score, box office or OTT data yet, and no certification is listed. The Holmes story and the Fielder name should draw viewers interested in true-crime and Silicon Valley stories. The long runtime may put off casual viewers.