Naomi Fry reads Nathan Fielder and Lance Oppenheim’s documentary You Can See Everything as an unsettling experiment in knowing other people. Elizabeth Holmes and her partner invite the filmmakers into their home before her prison sentence begins. Their promise of radical transparency becomes the film’s central problem.
- Fielder moves into the house and questions the couple in bedrooms, on couches, and across the kitchen table. His familiar disregard for personal boundaries becomes increasingly oppressive.
- Oppenheim and cinematographer David Bolen turn faces into landscapes. Fry compares their close-ups to Bergman’s Persona, with expressions scrutinized for evidence of an inner life.
- Holmes insists on her innocence. Fielder explicitly confronts her with the evidence of fraud, keeping the film’s uncertainty about her personality separate from her established wrongdoing.
- An encounter with Amanda Seyfried, who played Holmes in The Dropout, tests whether inhabiting someone’s role can reveal what observation misses.
Fry follows the doubles running through the film: actor and subject, interrogator and interviewee, lovers who believe they understand each other completely. Each offers a route toward intimacy and another opportunity for projection.
Access accumulates without delivering the promised understanding. Fielder demands entry into other people’s minds, then bristles when someone claims to know his own. The review leaves that asymmetry exposed: the person controlling the encounter can remain its least accessible participant.