‘You Can See Everything’ Tops Letterboxd as Nathan Fielder’s Elizabeth Holmes Doc Breaks Records

Documentaries seldom become cultural phenomena, and it’s rare for them to shatter rating records. However, A24’s ‘You Can See Everything’ seems to be achieving both. This film, created by comedian Nathan Fielder and filmmaker Lance Oppenheim, has become a hot topic among cinephiles, with its Letterboxd rating making headlines.

Reports indicate that the film has reached an impressive 4.8 average rating on Letterboxd, potentially making it the highest-rated feature film ever on the platform. For a documentary centered on a disgraced Silicon Valley founder, this is an extraordinary milestone.

Letterboxd’s rating is a weighted average based on all ratings submitted by its members. A snapshot taken weeks ago showed the film at 4.74, based on nearly 52,000 ratings, and it has reportedly continued to rise since its theatrical release on October 16. Previously, ‘Everything Everywhere All at Once’ held the title of the site’s top-rated film after surpassing classics like ‘Parasite’ and ‘The Godfather’ in 2022.

It’s important to note that early ratings often reflect the opinions of the most enthusiastic viewers, and the platform’s numbers can fluctuate. Nevertheless, the strength of the audience’s reaction is undeniable.

The film’s journey to this point has been quite unique. It had a secret world premiere at the 53rd Telluride Film Festival on September 6, 2026, in a surprise screening that left audiences in awe. It later featured in the Spotlight section of the New York Film Festival and the BFI London Film Festival before A24 released it in theaters.

During the Telluride Q&A, Fielder appeared just as astonished by the experience as the audience, expressing his excitement for people to see the film and share their thoughts. That playful, deadpan energy is exactly what fans of his work anticipate.

The documentary chronicles the story of Elizabeth Holmes, the Theranos founder currently serving an 11-year prison sentence for fraud. Just a month before she was set to report to prison, Holmes invited a skeptical film crew to document her every move, allowing Fielder and his team to spend time at her San Diego home with her partner, Billy Evans. This access led to what the official description calls a mind-bending journey spanning over three years.

At 174 minutes, the film is lengthy, but many reviewers argue that the runtime is justified. Fielder appears on camera as an interviewer, which means the film abandons any pretense of objectivity and instead probes the nature of truth itself.

Critics have been overwhelmingly positive. The film boasts a 99% approval rating on Rotten Tomatoes based on 103 reviews, with an average score of 9.3 out of 10. The site’s consensus describes it as an inscrutable Rorschach test of Holmes’ psyche that is both captivating and haunting.

Deadline remarked that it is unlike any documentary they have seen, while The Guardian noted it was more shocking and twistier than anticipated. RogerEbert.com awarded it 4 stars, commending its blend of documentary, comedy, and performance.

Some critics have offered more mixed reviews, suggesting that the premise feels questionable at the outset and that the weakest moments occur in the first act. Others pointed out that Fielder and Oppenheim occasionally struggle under the weight of their ambitions. One reviewer mentioned that certain blind spots prevented it from being a complete triumph.

Despite this, those same critics described the film as troubling yet undeniably gripping. This tension between admiration and discomfort may explain why audiences continue to discuss it.

The teaser trailer ‘YOU CAN SEE EVERYTHING,’ a documentary by Nathan Fielder and Lance Oppenheim.

Thirty-four days before she’s sent to prison, Elizabeth Holmes invites a skeptical film crew to document her every move.

In theaters this October. https://t.co/LHRvYLXULH

— Film Updates (@FilmUpdates) September 7, 2026

The film’s buzz has also translated into box office success. TheWrap projected an opening of at least $8 million, potentially making it the biggest opening for a non-music documentary since the COVID-19 pandemic. The film is rated R for language and some graphic nudity, a detail that added to the intrigue upon its announcement.

Additionally, it sets the stage for a busy awards season. The film has multiple nominations pending at the Critics’ Choice Documentary Awards on November 8, including Best Documentary Feature and Best Director for Fielder and Oppenheim.

Fielder, known for ‘The Rehearsal’ and the scripted series ‘The Curse’, makes his feature documentary debut with this film. Oppenheim also directed ‘Primetime’ this year, and together they have created a work that blurs the lines between performance and reality. For many viewers, that ambiguity is precisely the point.

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