Elizabeth Holmes doco turns the camera on a battle over her story

Elizabeth Holmes invited the cameras in. What followed, according to the filmmakers behind You Can See Everything, was far less straightforward than an intimate portrait of the Theranos founder.

Directed by Nathan Fielder and Lance Oppenheim, the documentary starts with an invitation issued 34 days before Holmes was sent to prison, according to A24’s official synopsis. The distributor describes the project as a three-year journey and lists a running time of two hours and 55 minutes.

That is a long stretch inside a story where access and understanding appear to be very different things.

In a review published on 14 October 2026, WBUR critic Sean Burns places the initial encounter in 2023, at Holmes’ rented beach house in Del Mar. His account says she was preparing to report to a Texas prison to begin an 11-year sentence for conspiracy and fraud.

Burns describes a film built around the friction between Fielder’s questioning and Holmes’ insistence that she did nothing wrong. Those descriptions are the critic’s account of the documentary, not independently verified findings about the encounters it depicts.

The filmmakers’ own comments suggest that making sense of the material was a struggle.

Film at Lincoln Centre published a conversation with Fielder and Oppenheim on 19 October 2026, drawn from the 64th New York Film Festival. The film was a Spotlight selection, with the discussion moderated by festival artistic director Dennis Lim. The publication date does not establish the date the conversation took place.

Asked why Holmes chose them, Fielder offered a tentative explanation: “maybe there was a sense that inviting someone who was a friend of theirs, no one would take that seriously, or something”.

Oppenheim described uncertainty extending well beyond individual exchanges. “I feel like our brains were scrambled, and we were also unsure for so long if we even had anything that was worthwhile to make and put together into something.”

That first-hand account gives weight to the film’s central tension: being allowed to document someone’s life does not necessarily make their story easier to untangle. It is distinct from the enthusiastic critical framing in WBUR’s review and Startup Daily’s headline, which pitches Holmes against the film’s maker.

A24 lists a theatrical date of 16 October 2026. Film at Lincoln Centre’s subsequent post says the documentary was then in cinemas through A24. Neither supplied page establishes an Australian release date, local classification or streaming availability.

For Australian viewers, those practical details remain unconfirmed. The documented pitch is clear, though: this is a film about Holmes, and about the difficulty of making a film about Holmes.