For three days, the Telluride Film Festival ran on a single unknown rumor. By Sunday night, the line outside the Werner Herzog Theatre had swelled into the longest of the weekend, phones were sealed in locked pouches, a security team worked the aisles in night-vision goggles and a Telluride programmer took the stage to warn the crowd, only half-joking, that anyone who spoiled what came next was no longer loved. The secret screening was “You Can See Everything,” Nathan Fielder and Lance Oppenheim’s documentary about Elizabeth Holmes, and the room came apart.
A24 confirmed to the world outside the same night as the movie hit play, dropping a teaser and announcing an October theatrical release, which means the guessing game is over and the awards conversation has begun. With that release date, the studio has planted a 174-minute nonfiction epic squarely in this season’s documentary feature race — and it arrives as a rare title that critics and attendees started debating immediately after the credits finished.
Thirty-four days before she reported to prison, Holmes invited a skeptical crew inside her home to record her every move. What began as a portrait of a convicted felon became a three-year descent that A24’s own logline calls a journey “into the abyss.” Hollywood has chased the Theranos saga for years — Alex Gibney’s “The Inventor” got there in 2019, and Hulu’s “The Dropout” won Amanda Seyfried an Emmy. There was even a Jennifer Lawrence vehicle from Adam McKay that collapsed before it could even start shooting, but no one has approached Holmes the way these two filmmakers do.
