The film, titled You Can See Everything and directed by Nathan Fielder and Lance Oppenheim, narrowly edged out DC Studios' Clayface to take in $11.4 million in its third weekend, according to Variety's final figures reported on Monday. This success marks a significant milestone for A24, as it is the first documentary outside of the concert genre to top the box office since Michael Moore's Fahrenheit 9/11 in 2004.

However, the lack of direct competition from major studios may be telling. None released a wide film over Halloween weekend, and overall ticket sales plummeted by more than 40% compared to the previous week, with an estimated total of about $56 million. This drop makes it one of the lowest-grossing weekends of the year so far.

A key factor contributing to this slump is that Halloween falls on a weekend without the usual extra day off for moviegoers. As a result, many people opt to spend their peak movie hours trick-or-treating or attending parties instead of heading to the cinema.

The Halloween weekend in 2020 marked a low point for movie theaters, which were still reeling from the pandemic's impact. The following year, 2015, was also a weak period for box office performance, with three new releases underperforming and The Martian dominating the charts.

This year's Halloween is shaping up to be similarly quiet, foreshadowing a tough November at the box office. One of the few major releases scheduled for this month is Lionsgate's adaptation of Suzanne Collins' 2025 bestseller, The Hunger Games: Sunrise on the Reaping.

The film, which hits theaters on November 20, is expected to open strongly, with Boxoffice Pro predicting a $55 million to $65 million debut. This would be a respectable start for the sixth installment in the franchise, following the success of 2023's The Hunger Games: The Ballad of Songbirds & Snakes.

In the weeks leading up to Thanksgiving, Disney and Universal will release their animated films Hexed and Focker In-Law on November 25. The latter is a riskier bet, given that it has been 16 years since the last film in the franchise, Little Fockers, opened with $30.8 million.

Meanwhile, Warner Bros.' animated The Cat in the Hat and Searchlight's Wild Horse Nine will hit theaters on November 6, joining a crowded field of smaller titles like Ebenezer: A Christmas Carol and I Play Rocky. However, the biggest competition for these films may come from the video game industry, as Rockstar Games prepares to release Grand Theft Auto VI on November 19.

The highly anticipated Grand Theft Auto VI is set to hit stores on November 19, bringing with it a massive wave of excitement and anticipation among gamers worldwide. This sixth installment in the series has been in development for years, with Rockstar confirming its existence in February 2022.

In recent months, leaks have only added to the buzz surrounding GTA VI. In December 2023, the game's first trailer was leaked hours before its scheduled debut, giving fans a glimpse into what promises to be an expansive and immersive gaming experience. The game's setting is expected to be larger than any previous Grand Theft Auto title.

The success of GTA V in 2013 set a high bar for the series, with it generating $800 million in sales within its first 24 hours and reaching $1 billion in just three days. Since then, GTA V has gone on to sell over 230 million units worldwide, cementing its status as one of the best-selling entertainment properties of all time.

The pre-launch hype for GTA VI is already showing no signs of slowing down, with analytics firm Sensor Tower estimating that it had drawn 6.45 million digital pre-orders worth around $630 million by October 20. This staggering figure already surpasses the domestic box office earnings of Christopher Nolan's The Odyssey, the year's second-highest-grossing film behind Spider-Man: Brand New Day.

The massive pre-launch haul for GTA VI is also a testament to the game's global appeal, with its estimated $630 million in digital pre-orders dwarfing the combined box office earnings of all movies playing in North American theaters over Halloween weekend.

The highly anticipated release of Grand Theft Auto VI is poised to command significant attention from millions of gamers worldwide when it drops later this month. This massive pre-launch hype may divert some viewers away from the big screen for at least a weekend.

The resulting dent in the November box office is likely to be substantial, given the size and scope of GTA VI's global appeal.

Fortune: https://fortune.com/2026/11/02/halloween-box-office-gta-vi-november-hunger-games/

Borat's success can be attributed in part to its predecessor, Da Ali G Show, a cult favorite that aired on BBC's Channel 4 in 2000 before making the leap to HBO in 2003. The show introduced Cohen's unique brand of confrontational comedy, which blended cringe-worthy moments with a touch of absurdity.

Cohen's characters often pushed boundaries and sparked controversy, but Borat was perhaps his most notorious creation. Armed with a shabby suit and an aggressive charm, the character would frequently make culturally insensitive remarks and engage in outlandish behavior, all while claiming to be a straightforward reporter from Kazakhstan.

Borat's on-screen presence was often met with shock and dismay by those who encountered him, but Cohen's intention was to highlight the darker aspects of human nature rather than genuinely advocate for discriminatory views.

The format of Borat's documentary-style comedy was not revolutionary even at the time of its release on HBO. Other shows had experimented with similar man-on-the-street sketches, like The Chris Rock Show, which once polled residents in Howard Beach about renaming a street after Tupac Shakur.

These types of stunts were often uncomfortable to watch but easy to understand. They relied on Borat's antics and interviews to elicit reactions from unsuspecting Americans. By pushing boundaries, the show aimed to spark discussion rather than genuine outrage.

Borat deviated from the sketch-based format of Da Ali G Show by incorporating a loose narrative structure. The titular character set out to document America's social quirks with the intention of winning over Pamela Anderson. This narrative thread added depth to the show's humor, making it more than just a series of sketches.

The film can be seen as part of a larger theme in cinema where Europeans attempt to understand America. Movies like Showgirls and Zabriskie Point explore this idea, often with darker undertones. However, Borat is best appreciated for its comedic value rather than any deeper social commentary.

Borat's humor often revolves around physical comedy and inflammatory non sequiturs. The show's most memorable moments include a scene where an etiquette coach tries to teach Borat about comic timing, as well as the infamous full-frontal hotel chase sequence between Borat and Azamat.

The impact of Borat's humor was felt deeply by many who saw it on the big screen for the first time in 2006. The film's irreverent style and crude humor resonated with audiences worldwide, earning significant box office returns.

One factor that contributed to the film's success was its ability to tap into a specific moment in American history. Released during George W. Bush's second presidential term, Borat capitalized on the nation's collective frustration and anger towards various social issues.

In particular, the film exploited Americans' tendency to seek scapegoats for their problems. This led to Borat targeting unsuspecting individuals with his off-color comments and antics, often resulting in hilarious and cringe-worthy moments.

Some of the most memorable scenes depict Borat interacting with groups that were already considered outsiders or marginalized by society. For instance, he was shown telling a group of feminists to smile more, which sparked outrage among some viewers.

The fallout from Borat's release was far-reaching, with several individuals taking legal action against the film's producers in an attempt to clear their names and reputations.

A New York City subway rider also filed a lawsuit, alleging invasion of privacy after Borat unleashed a live chicken on the train, causing widespread disruption and shock among passengers.

This wave of litigation became a notable aspect of the controversy surrounding Borat, with various parties seeking compensation for their perceived mistreatment in the film.

In contrast to some of the film's more unsavory portrayals, certain individuals were surprisingly understanding of their depiction in Borat.

Cohen's subsequent projects have been met with increasing criticism for their content and impact on various cultures.

His 2012 film, The Dictator, sparked outrage over its portrayal of Arab culture, while Brüno, released in 2009, was marred by homophobic gags that led to a settlement with a Palestinian grocer who was inaccurately depicted as a former terrorist.

After the box-office disappointment of Grimsby in 2016, which was tainted by allegations of on-set harassment against co-star Rebel Wilson, Cohen's work began to take on a more overtly political tone.

This shift is evident in his later films, including two episodes featuring writing and directing contributions from Nathan Fielder, as well as Borat Subsequent Moviefilm in 2020, which earned several Oscar nominations and generated controversy surrounding actress Maria Bakalova's involvement with Rudy Giuliani.

The latter film, while earning some critical acclaim, has been criticized for its tone-deaf portrayal of certain issues, particularly when compared to Cohen's earlier work.

The controversy surrounding Sacha Baron Cohen's work has been a long-standing one, and it's clear that his more recent films have not escaped criticism. One notable example is the character of Dr. Nira Cain-N'Degeocello in the 2018 film Who Is America?, who is a satirical take on liberal elites.

This character's portrayal has drawn parallels with Cohen's own approach to comedy, which often involves pushing boundaries and challenging societal norms. However, some have argued that this approach can be alienating and exhausting for audiences, particularly when it comes to issues of cultural appropriation and identity politics.

GQ: https://www.gq.com/story/borat-turns-20

The film, directed by Nathan Fielder and Lance Oppenheim, offers a hyper-stylized examination of Elizabeth Holmes and the infamous Theranos health-tech scandal that went horribly wrong. However, it delves much deeper than just the scandal, revealing intimate details about those involved in an attempt to uncover authenticity.

In an effort to provide clarity, the filmmakers use close-up shots of their subjects' sweat, chapped lips, and pores, but the pursuit of truth seems elusive. The resulting effect is a hall of mirrors that leaves viewers questioning everything they thought they knew about reality.

Orson Welles tackled similar themes in his 1973 documentary F For Fake, which explores the idea that authenticity may be an illusion. In this video essay, Welles stars as himself and narrates the biography of Elymr de Hory, a renowned art forger, raising questions about the nature of truth and deception.

The filmmakers' use of close-up shots in their documentary raises questions about the boundaries between reality and performance. By putting viewers right up against the skin of their subjects, they blur the lines between authenticity and artifice.

Welles' F For Fake predates this examination by over 50 years, but it poses the same fundamental question: can we ever truly know what is real?

The notion that reality can be escaped or manipulated has long been a staple of cinema, as seen in Spike Jonze's 1999 film Being John Malkovich. This thought-provoking movie follows Craig Schwartz, a struggling puppeteer who stumbles upon a portal into the mind of actor John Malkovich.

As Schwartz navigates this surreal world, he becomes obsessed with the idea of transcending his mundane reality and finding a new sense of purpose. The film's exploration of identity and the human desire to escape one's circumstances raises fundamental questions about the nature of reality.

Similarly, Werner Herzog's 2005 documentary Grizzly Man chronicles the life of Timothy Treadwell, an outdoorsman who believes he can coexist with wild animals. Through a series of intimate interviews and footage of Treadwell's encounters with bears, the film reveals his naivety and ultimately tragic fate.

The documentary raises questions about the human relationship with nature and our place within it.

The documentary Free Solo is a gripping watch for those who appreciate the art of free solo climbing, a style where climbers ascend without any protective gear.

This particular film follows Alex Honnold's preparation to climb El Capitán in Yosemite National Park, a daunting 3,200-foot vertical rock face that requires immense physical and mental strength.

The documentary delves deeper into Honnold's personal life, exploring his relationship with his then-girlfriend and his remarkable fearlessness, which raises questions about the human capacity for risk-taking.

By examining Honnold's inner world, the film probes the complexities of the human experience and our place within the natural environment.

Harper's Bazaar: https://www.harpersbazaar.com/culture/film-tv/a74284038/movies-to-watch-you-can-see-everything/

Fielder's most notable projects include Nathan For You, a comedy series that aired on Comedy Central, and The Rehearsal, which premiered on HBO. On both shows, he used unorthodox methods to help people overcome personal challenges or improve their skills in unconventional ways. His goal is not just to entertain but also to observe human behavior in its most raw and honest form.

Fielder's approach often involves staging elaborate ruses that allow him and his audience to witness the uncanny behavior of regular people. By creating these intricate scenarios, he forces individuals to confront their own limitations and biases. While his methods may be unorthodox, they are always aimed at revealing new possibilities for human understanding.

The line between documentary and reality TV is intentionally blurred in Fielder's work, making it difficult to separate what we see from what we already know. His projects often raise more questions than answers, leaving viewers to ponder the nature of truth and observation.

The documentary series "You Can See Everything" delves into the life of Elizabeth Holmes, founder of Theranos, who was convicted of defrauding investors and the public about her revolutionary blood-testing device.

As part of this project, filmmaker Fielder has gained unprecedented access to Holmes' personal life, capturing intimate moments with her husband Billy Evans in their seaside rental home in Del Mar, California.

This is a stark contrast to earlier portrayals of Holmes, where she was often seen as the embodiment of Silicon Valley's glamour and innovation, with her signature sleek black turtleneck and crystal-blue eyes dominating magazine covers.

The couple has invited Fielder into their home 24/7, allowing him to observe Holmes in a more candid light, but his attempts at objective portrayal have led to a story full of complexities and contradictions.

The documentary's portrayal of Elizabeth Holmes is a masterclass in complexity, as Nathan Fielder's attempts at objective storytelling are constantly thwarted by the subject's own narrative.

Fielder's presence in Holmes' life feels like an unlikely convergence of events, given his background as a character and a person who studies her. This unusual dynamic creates a sense of tension between the two, with Fielder's trickster tactics serving as a counterpoint to Holmes' carefully constructed reality.

The documentary highlights the stark contrast between the public perception of Holmes and her private self. Despite being convicted on four counts of corporate fraud in January 2022, Holmes seems oblivious to the severity of her actions, instead choosing to downplay them with semantic games.

Holmes' assertion that she is incapable of lying raises more questions than answers, particularly when juxtaposed with Fielder's efforts to understand her motivations and actions. As he delves deeper into the couple's lives, it becomes clear that they inhabit a reality designed by themselves, one that is intentionally opaque and resistant to scrutiny.

As Billy's behavior becomes increasingly controlling, he starts to manipulate what is visible to us, deliberately concealing aspects of his relationship with Holmes.

His actions are a stark contrast to his initial stance on transparency, and it soon becomes clear that his motivations may not be entirely altruistic. A pattern emerges where he dominates interactions with Holmes, often interrupting or stopping them abruptly when he feels the conversation is becoming too probing or challenging.

The parallels between Billy's behavior and his claims of media manipulation regarding Holmes' sentencing are striking, raising questions about his role in shaping her narrative. This blurs the lines between what we can trust as fact and what may be a carefully constructed facade.

With Holmes' absence from the documentary, space opens up for introspection, allowing Fielder to explore different perspectives on her subject's personality. In reenactments reminiscent of those in The Dropout, Seyfried brings a nuanced approach, grappling with the complexity of Holmes' character and weighing empathy against wariness as she tries to understand her true nature.

The documentary raises questions about the nature of truth and perception, as it delves into the complexities of human behavior. In one particularly striking moment, Holmes challenges a colleague on their own potential biases, serving as a kind of barometer for the audience to gauge the reliability of the narrative.

As the story unfolds, the contradictions and flaws in those involved become increasingly apparent, highlighting the inherent subjectivity of human experience. The documentary suggests that we are all prisoners of our own egos, perceiving the world through the lens of our individual preferences and experiences. Ultimately, this raises doubts about whether it's possible for anyone to truly know another person, or even themselves.

Harper's Bazaar: https://www.harpersbazaar.com/culture/film-tv/a74205456/you-can-see-everything-elizabeth-holmes-nathan-fielder/

As an outsider to the world of Elizabeth Holmes, I found myself drawn into the documentary's complex web of intrigue and deception. Without being overly familiar with the details of the Theranos scandal, I was able to approach the film without preconceptions. This allowed me to appreciate Fielder's unique perspective on the subject matter.

The film's format is reminiscent of Fielder's previous projects, such as The Rehearsal, where he pushes boundaries and defies expectations. In You Can See Everything, he enlists the help of Amanda Seyfried, who played Holmes in a Hulu miniseries, to aid in his investigation into her life.

Fielder's involvement with the project has sparked curiosity among viewers, who are eager to see what new twist or angle he will bring to the story. With Fielder at the helm, it is clear that You Can See Everything will not be a traditional documentary but rather an immersive and thought-provoking exploration of Holmes' life and motivations.

The documentary's portrayal of Holmes thus far has been a complex and intriguing one, showcasing her as both tragic and deceitful, yet simultaneously earnest in her endeavors.

However, despite its compelling nature, the film remains firmly rooted within the conventions of a traditional documentary at this stage.

That is, until Kristen Seyfried enters the narrative, bringing with her an added layer of complexity and depth that elevates the project beyond mere documentation.

The knowledge of her involvement beforehand did little to prepare me for the true impact of her participation in the film.

As Nathan Fielder continues to push boundaries, his latest collaboration has found him a willing partner in Emma Stone, who is not afraid to call out his narrative contrivances.

The project has become a meta-agenda of one-upmanship, with critics and audiences alike drawn into the complex web of ideas. For the first time, even commercial returns are acknowledging Fielder's innovative approach.

Fielder's latest venture, You Can See Everything, has brought about a shift in perspective, as his previous show, The Rehearsal, was initially overlooked by award committees, including the Emmys. However, with YCSE now in contention for Oscars consideration, pundits are debating its potential impact on the industry.

Fielder's recent comments at an after-party hinted that he may be taking a break from The Rehearsal, but his latest film suggests otherwise. You Can See Everything is essentially a large-scale expansion of what could have been a third season of The Rehearsal, opening up new avenues for exploration and potentially setting the stage for even more daring projects in the future.

The documentary "You Can See Everything has left many pondering its place in the canon of unconventional documentaries. Upon reflection, it is not hard to see why some might draw comparisons between Fielder's latest work and classic narrative films.

The way Fielder dresses Seyfried in the third act bears a striking resemblance to Jimmy Stewart's unsettling GRWM sequence with Kim Novak in Vertigo. This connection is reinforced by composer Ari Balouzian's score, which incorporates nods to Bernard Hermann's iconic style.

Fielder's affinity for revisiting and reinterpreting imagery is also reminiscent of Christopher Nolan's technique. Just as Nolan often returns to a single image throughout his films, each time imbuing it with new meaning and context, Fielder similarly employs this strategy in You Can See Everything".

The idea of a collaboration between Fielder and Nolan may seem like a far-fetched notion, but given their shared affinity for pushing boundaries and experimenting with form, the prospect is tantalizing.

GQ: https://www.gq.com/story/what-will-nathan-fielder-do-next

Oppenheim was in a unique position when we spoke to him earlier this month - flanked by a large poster of Robert Pattinson, who starred in and produced his recent feature film, Primetime. The 30-year-old director's life has been marked by collaborations with high-profile figures in Hollywood.

Just three weeks after the release of Primetime, Oppenheim's documentary You Can See Everything hit screens. This ambitious project saw him team up with Fielder to embed themselves in Elizabeth Holmes' California home in the days leading up to her 11-year prison sentence.

The experience was a far cry from his previous work on documentaries like Some Kind of Heaven and Ren Faire, which were more low-key productions with crews of around eight people. You Can See Everything, however, had a much larger crew and was Oppenheim's first scripted feature film.

Despite the differences in scale and scope, Oppenheim's movies are known for their intimate approach to storytelling. In some cases, this has led to subjects opening up to him in unexpected ways, even when they might not have wanted to.

The documentary You Can See Everything is a testament to Oppenheim's ability to connect with people from all walks of life. His previous films have shown that he can get those around him to share their stories and struggles, often with surprising results.

As a result of his work on these documentaries, Oppenheim has developed a reputation for getting close to his subjects, even if it means pushing boundaries and invading personal space.

Lance Oppenheim's life has been a whirlwind of personal and professional milestones in recent times. The filmmaker has been making waves with his debut feature, Primetime, as well as his documentary You Can See Everything.

The release of both films just days apart was not something he had anticipated or planned for. In fact, it has left him feeling a bit disoriented and unsure about how to process the reaction from audiences.

To gain insight into how people are responding to Primetime, Oppenheim took an unconventional approach - sneaking into movie theaters to watch his film on the big screen. This was a departure from his usual documentary-making routine, where he would typically test the film with friends and acquaintances before sharing it with a wider audience.

The experience of watching Primtime in theaters has been both fascinating and unsettling for Oppenheim. He has found himself drawn into the reactions of viewers, who are often polarized in their opinions about the film's portrayal of its subject matter.

One notable reaction came from Chris Hansen, a former TV host known for his work on investigative documentaries. Hansen was interviewed in You Can See Everything, but his response to Primetime has taken on a life of its own, with some viewers interpreting it as a commentary on good and evil.

Oppenheim maintains that this was not his intention, and he values the contributions that Hansen made to both films. The filmmaker's goal is to create documentaries that are thought-provoking and nuanced, rather than simplistic or sensationalized portrayals of complex issues.

As Oppenheim continues to navigate the aftermath of these film releases, it's clear that he is grappling with the blurred lines between his personal life and professional output.

As Oppenheim navigates the complexities of his personal life, he finds himself pondering the notion that reality is blurring into fiction. This sentiment is echoed in his own filmmaking endeavors, where he strives to create a sense of authenticity and truth.

Oppenheim's experience with the film Primetime has been marked by an unusual series of events. The production was put on hold due to various factors, but it eventually resumed as a documentary. This shift in direction was influenced by the connections he made during this time, including befriending filmmaker Romain Gavras and meeting Rob.

The making of Primetime has also been intertwined with Oppenheim's personal life in unexpected ways. Just four days before his initial conversation with Rob, his film Spermworld had its premiere, and he received a Cameo from Chris Hansen as a gift from his wife. This unusual encounter sparked an interest in exploring the intersection of reality and fiction.

The script for Primetime arrived just after Oppenheim's accidental pregnancy while on location in Joshua Tree. This pivotal moment coincided with a period of intense personal loss, including the passing of close friend Jeff Baena, to whom the film is dedicated. Amidst the darkness surrounding him, Oppenheim found solace in his family and creative pursuits.

The narrative threads of Primetime are deeply intertwined with Oppenheim's own experiences and emotions. As he grapples with the complexities of life, he is also navigating the challenges of filmmaking. The boundaries between reality and fiction continue to blur, raising questions about the nature of truth and authenticity in art.

Oppenheim's personal journey has been marked by both joy and hardship, but it is his capacity for resilience that shines through in his work. His commitment to capturing the essence of human experience is evident in Primetime, a film that embodies the complexities and contradictions of life.

The making of Primtime has been a deeply personal odyssey for Oppenheim, one that has pushed him to confront the darker aspects of reality while celebrating the beauty and wonder that surrounds us all. As he continues to navigate this complex web of emotions and experiences, it is clear that his art will remain an honest reflection of the world around him.

Oppenheim's journey with Primetime serves as a testament to the transformative power of art and its ability to capture the essence of human experience. Through his work, he invites us to reflect on our own lives and the complexities that we all face.

As a filmmaker, Lance Oppenheim has developed a unique approach to processing his emotions and creating meaningful work.

He admits to being an emotional person, but instead of dwelling on his feelings, he channels them into his films.

Making movies is not just a profession for Oppenheim, it's a way of life that allows him to connect with others and explore complex themes.

His personal relationships have also influenced his filmmaking style, as evident in the close bonds he shares with his collaborators, including his cinematographer and producer.

Oppenheim has been fortunate to work with talented individuals who share his passion for storytelling, and these collaborations have led to some of his most notable works.

The process of making a film can be therapeutic for Oppenheim, allowing him to externalize his emotions in a way that writing or traditional therapy cannot.

As he navigates the complexities of masculinity through his characters, Oppenheim draws from personal experiences, including those related to fatherhood and identity.

Navigating unconventional forms of masculinity is a theme that Oppenheim explores through his collaborations with Nathan Fielder. This exploration is particularly evident in their joint project, You Can See Everything, which blends traditional documentary filmmaking with more experimental techniques.

One aspect of Fielder's persona that Oppenheim finds intriguing is his display of hyper-masculinity. However, this trait is not necessarily something that Oppenheim aspires to emulate himself. In fact, he views it as a unique and interesting characteristic that sets Fielder apart from others.

Fielder's unconventional approach to masculinity has been a subject of interest for Oppenheim in the past. He notes that Fielder's portrayal of masculinity is most pronounced in You Can See Everything. This observation highlights the ways in which Oppenheim seeks to understand and capture different forms of masculinity through his work.

In You Can See Everything, Oppenheim had the opportunity to collaborate with Nathan Fielder as both a co-director and on-screen presence. Initially, the plan was not for Fielder to appear on camera, but he eventually became an integral part of the project. This shift in approach allowed Oppenheim to experiment with new styles of filmmaking.

The film's use of observational vérité techniques is reminiscent of classic documentary films from the past. By embracing this style, Oppenheim aimed to capture moments and events as they unfolded without imposing a predetermined narrative or aesthetic. The result was a unique blend of traditional documentary filmmaking and more experimental approaches.

Oppenheim has also drawn inspiration from other filmmakers who have pushed the boundaries of documentary storytelling. He cites Errol Morris's use of reenactments in The Thin Blue Line as an example of innovative filmmaking techniques that he sought to incorporate into his own work.

The film's style was intentionally minimalist, avoiding embellishments or artistic commentary in favor of a more straightforward, observational approach. This decision allowed Oppenheim to focus on the subject matter rather than imposing his own creative vision on the project.

The unique challenge of capturing the intense dynamics between Elizabeth Holmes and her family members led to some unorthodox filming techniques. To transport the audience into the room and convey the "intense cognitive dissonance" experienced by the filmmakers, a different approach was needed.

Nathan Chytle, Elizabeth's brother, was not initially on camera, but his interactions with Holmes and Billy Evans were still captured through a series of questions that seemed to draw him out from behind the scenes. This unusual dynamic added an extra layer of tension to the already charged atmosphere.

After the first day of filming, Lance Oppenheim felt defeated, acknowledging that he had failed in capturing the essence of the situation. He apologized to Nathan and conceded that his approach wasn't working, paving the way for new strategies to be implemented.

To rectify this issue, Oppenheim brought in additional cameras with high-quality lenses, allowing his team to capture a wider range of possibilities within the confined space. This included shooting for extended periods of 16 hours a day, which proved instrumental in capturing the complexities of the family's interactions.

As filming progressed, Oppenheim continued to adapt and innovate, introducing a new wide-angle camera with a 12-millimeter lens that he operated personally. This decision allowed him to experiment with fresh perspectives and capture the unique nuances of the situation.

The end result was a groundbreaking documentary that blended the distinct styles and sensibilities of both Oppenheim and Chytle. The film's innovative approach and immersive experience have set it apart from traditional documentaries, making it an unforgettable viewing experience.

GQ: https://www.gq.com/story/lance-oppenheim-interview

Carreyrou's book was a bestseller when released in 2018 and provided a captivating narrative of the events leading to Theranos' demise. The new documentary, You Can See Everything, offers a different perspective on Holmes, focusing on her home life as she prepares for prison. This shift in focus has thrust both Holmes and Carreyrou back into the spotlight.

The documentary's success is evident in its estimated $15 million opening weekend, making it the second-biggest opening for a documentary ever. It follows comedian Nathan Fielder as he lives in the guest house of Holmes' home with her partner Billy Evans and their two children before she goes to prison.

The documentary about Elizabeth Holmes has been widely praised for its artistry and unique structure, but one journalist who knows the story intimately is cautioning against getting too caught up in its cinematic qualities.

Journalist John Carreyrou, who exposed the Theranos scandal through his reporting, said he was initially won over by the film's meta-thinking and unusual approach after watching it twice. However, he emphasized that the documentary doesn't tell the full story of the fraud perpetrated by Holmes and her team.

Carreyrou took to social media platform X to express his views, stating that while the film is a great piece of art, it should not be confused with the underlying facts of the case. He warned that some viewers might miss the details of what he experienced during his reporting, including the legal threats he received from Theranos' lawyers.

Carreyrou revealed that Holmes and her team went after two of his sources, Tyler Shultz and Erika Cheung, with relentless force, while he himself faced daily litigation threats for months. He described it as a ruthless cover-up of an enormous fraud, with Holmes at the helm.

The grandiose promises made by Theranos' leadership were far from reality. The company's machines were capable of performing only a limited number of medical tests and often produced unreliable results. This was in stark contrast to Holmes' claims that the technology could run hundreds of tests with just a few drops of blood from a finger prick. The exaggerated capabilities were marketed as a way to make testing more accessible and affordable for patients.

Holmes' misleading statements extended beyond the technical capabilities of Theranos' machines. She also made false claims about the company's business prospects, telling investors that it would bring in $1 billion in revenue in 2015. However, according to the Justice Department, this figure was far from accurate, with actual revenue being negligible.

Theranos' attempts to silence a critical reporter are well-documented. The company's lawyers tried to kill his story by appealing directly to Rupert Murdoch, the billionaire owner of the Wall Street Journal and a Theranos investor. This effort was part of a broader campaign to discredit Carreyrou's reporting.

The pressure on Carreyrou was relentless, with Theranos' lawyers confronting him at the newspaper's offices in a five-hour meeting. Despite these efforts, his reporting ultimately exposed the truth about Theranos' activities.

The documentary about Elizabeth Holmes' rise and fall from Theranos' CEO left some viewers feeling frustrated, according to a recent interview on the Hard Fork" podcast.

When questioned by the interviewer, Holmes maintained her innocence despite mounting evidence of wrongdoing, prompting one observer to wish for more probing questions. This lack of skepticism was seen as overly polite, with some wishing for a tougher approach.

Tyler Shultz, a former Theranos employee and grandson of George Shultz, who served on the company's board, has spoken out about Holmes' actions. He believes she knowingly created a complex web of deceit that would have been unnecessary if her claims were genuine.

Holmes was found guilty in 2022 of three counts of wire fraud and one count of conspiracy to commit wire fraud for deceiving investors. She received an initial sentence of over 11 years, with her former business partner Sunny Balwani ordered to pay $452 million in restitution alongside her.

A federal appeals court upheld Holmes' conviction last year, but a subsequent adjustment to the sentencing guidelines led to a reduction in her prison term to 10 years and three months. She is currently scheduled for release from a halfway house in 2027 and will be eligible for full release by 2030.

The documentary on Elizabeth Holmes has sparked a mix of emotions among those familiar with her story, including investigative journalist Mathew Carreyrou. Despite his history with Holmes, he believes the film sheds light on some of her contradictions.

In one pivotal scene, Holmes makes an outlandish claim that she has never lied in her life, a statement that Carreyrou finds utterly unbelievable. This assertion only serves to underscore the damage to her already tarnished reputation, and it is evidence for him that the documentary's portrayal had the opposite effect of what some might assume.

Carreyrou believes Holmes' statement comes across as absurd and impossible to believe, making her look even worse in the process.

Fortune: https://fortune.com/2026/10/20/john-carreyrou-theranos-whistleblower-elizabeth-holmes-you-can-see-everything-documentary-nathan-fielder-fraud-bad-blood/

At its core, the film's innovative approach raises questions about the artificiality of documentary filmmaking itself. By subverting expectations and blurring the lines between reality and fiction, Fielder and his co-director Lance Oppenheim create a unique viewing experience.

The subject of the film is none other than Elizabeth Holmes, the infamous founder of Theranos who has been extensively covered in various forms of media. One might wonder what additional insights this documentary could possibly offer into her story.

However, given Nathan Fielder's background as a mastermind of absurdist-comedy projects like Nathan For You" and "The Rehearsal, it's not surprising that he would tackle the subject with an unconventional approach.

The film Everything leaves viewers questioning what is real and what is fabricated, keeping them engaged long after the initial shock of its unconventional approach has worn off.

This ambiguity is a hallmark of Nathan Fielder's work, which often blurs the lines between reality and performance, challenging our perceptions of narrative and authorship.

Fielder's collaboration with Ariel Oppenheim on Everything positions them in a lineage of filmmakers who have pushed the boundaries of genre and form, exploring themes that are particularly relevant today.

This film, like Fielder's earlier work, challenges viewers to think critically about the stories we tell and the power dynamics at play in their creation.

Nathan Fielder's work often blurs the lines between reality and fiction, but one of his early projects, Finding Frances, laid the groundwork for this approach.

In this film, Fielder stages a mock reunion between the subject and an old flame, allowing the subject to rehearse their interactions in advance. This innovative technique would later become a hallmark of Fielder's work in The Rehearsal.

The use of this method in Finding Frances was likely an early experiment with what would eventually become the central concept of The Rehearsal. It shows Fielder thinking creatively about how people interact and how relationships can be influenced by external factors.

This kind of experimentation is reminiscent of other filmmakers who push the boundaries of documentary storytelling, such as Ross McElwee in his 1986 film Sherman's March.

The 1969 film Medium Cool directed by Haskell Wexler is notable for pushing the boundaries of traditional documentary storytelling and raising questions about media ethics.

This film's narrative follows a news reporter who uncovers a conspiracy involving his station seeding information to the FBI, blurring the lines between fiction and reality. The movie integrates real-life events from 1968 into its storyline in a striking way.

The climax of Medium Cool sees actors and crew caught up in a violent protest at the 1968 Democratic National Convention in Chicago, further underscoring the film's themes of media manipulation and the blurring of fact and fiction.

In his review of Medium Cool, Roger Ebert wrote that there are fictional characters in real situations [and] there are real characters in fictional situations," cautioning against separating reality from fiction. This approach challenges traditional notions of documentary filmmaking.

Abbas Kiarostami's 1990 film Close-Up is a landmark of neorealist cinema and has become an international sensation. The movie tells the true story of a cinephile who impersonated a famous Iranian filmmaker, leading to a trial for fraud.

Jafar Panahi's latest film, No Bears, is a testament to his unwavering dedication to filmmaking despite facing severe government restrictions.

The Iranian filmmaker has been repeatedly arrested, imprisoned, and formally banned from making films by the Iranian government, but he continues to defy these obstacles with remarkable courage.

In No Bears, Panahi takes on a fictionalized version of himself, remotely directing a docu-drama in Turkey from his small village in Iran. The production is fraught with challenges that mirror the real-life struggles faced by artists under oppressive regimes.

The film's neorealist style and blend of fact and fiction pay homage to Panahi's mentor, Abbas Kiarostami, while also highlighting the risks involved in creating art under such conditions.

The film Blue Heron, directed by Romvari, takes a personal approach in exploring the complexities of grief and memory through its semi-autobiographical narrative. The story revolves around a filmmaker struggling to comprehend her enigmatic half-brother who passed away before she was old enough to know him.

Romvari employs unconventional structural choices, blending documentary with scripted narrative, to convey the protagonist's futile search for truth about her brother. This approach highlights the challenges of capturing someone's essence or truth through art, emphasizing that it is impossible to fully understand another person.

Ultimately, Blue Heron presents a poignant exploration of the human experience, where memory and grief intersect with artistic expression.

GQ: https://www.gq.com/story/movies-like-nathan-fielder

However, attention was focused on another release: the nearly three-hour documentary about Elizabeth Holmes, You Can See Everything. The buzz surrounding this film suggests a strong cultural impact, despite its modest box office numbers compared to other releases.

In a remarkable turn of events, You Can See Everything earned an impressive $15 million from just 855 screens. This figure is all the more notable given that it had over 2,000 sellout showings over the weekend.

The documentary You Can See Everything has been making waves at the box office, despite being made on a relatively modest budget of under $7 million. The film's creators, Nathan Fielder and Lance Oppenheim, spent three years secretly working on the project, which offers an intimate look at Elizabeth Holmes' life.

The reviews for You Can See Everything have been overwhelmingly positive, with 99% of critics praising the documentary on Rotten Tomatoes and a Metacritic score of 99. Audiences are also enthusiastic, with 91% giving it a definite recommend according to PostTrak exit polls.

Industry experts say they underestimated the movie's potential because of its unconventional format as a three-hour documentary. However, Fielder's social media following and his reputation for creating thought-provoking content helped draw in viewers.

Meanwhile, another film that opened last weekend was Street Fighter, which topped the charts with a $51 million global opening. The action-packed movie, starring Callina Liang, Noah Centineo and Andrew Koji, had a reported production budget of $82 million, although marketing costs are not included.

The box office performance of several films has been reported for the current weekend. One of these is Whalefall, a survival thriller with a production budget of $60 million. The movie, starring Austin Abrams and Josh Brolin, managed to earn only $8 million from 3,065 locations in the US and Canada.

In comparison, another film called Street Fighter" may have impacted "Whalefall's performance. However, it's worth noting that Whalefall received better reviews than its rival movie. Despite this, Whalefall still struggled to attract a large audience, resulting in a relatively weak opening weekend.

The $17.5 million global launch of Whalefall is comprised of the $8 million earned from US and Canadian locations, as well as an additional $9.5 million from international showings. This puts it behind several other movies that performed better at the box office this weekend.

Universal Pictures' horror movie Other Mommy, starring Jessica Chastain, took fourth place at the box office with a domestic total of $44.9 million after its second weekend. The film added $8.4 million to its earnings during this period. Meanwhile, other movies like Sense and Sensibility also performed reasonably well.

The Austen adaptation Sense and Sensibility, starring Daisy Edgar-Jones, managed to draw a predominantly younger audience with 58% of viewers between the ages of 14 and 18. It also attracted an overwhelmingly female crowd, making up 84% of its viewers. The movie received a strong CinemaScore of A- from these audiences.

The box office performance of the Elizabeth Holmes movie You Can See Everything has been impressive, contributing to a significant boost in overall ticket sales over the weekend. According to Rentrak, the total revenue from domestic and Canadian theaters reached $101.6 million, representing a 45% increase compared to the same period last year.

This surge in box office sales marks a notable milestone for the industry, with the year-to-date totals now standing at $8.2 billion. This figure represents an almost 20% increase over the previous year's performance, highlighting the resilience and growth of the film market despite various challenges. The strong showing of You Can See Everything" is likely to have contributed significantly to this uptick in ticket sales.

ABC News Entertainment: https://abcnews.com/Entertainment/wireStory/box-office-elizabeth-holmes-movie-now-hit-theaters-137363778