Titled You Can See Everything and distributed by the studio A24, the 174-minute feature debuted without prior warning on a Sunday during the Telluride Film Festival in Telluride, Colorado, catching festival attendees entirely off guard.
Following investigative reports by John Carreyrou for The Wall Street Journal and his subsequent 2018 book Bad Blood, regulatory scrutiny tore down the Silicon Valley darling. In November 2022, a federal judge sentenced Holmes to 135 months—equivalent to 11 years and three months—behind bars, a term she is currently serving in a federal prison in Texas.
Inside the Secret Production and Access
What sets You Can See Everything apart from previous cinematic treatments—such as Alex Gibney’s 2019 documentary The Inventor: Out for Blood in Silicon Valley, Yahoo Finance’s Valley of Hype, or Hulu’s dramatized series The Dropout starring Amanda Seyfried—is the direct and unfiltered access Fielder and Oppenheim secured. According to coverage by Forbes México, the directors filmed Holmes and her husband, Billy Evans, starting approximately 35 days before she reported to federal custody.
The filmmakers even sat down with Holmes to watch episodes of The Dropout. Throughout these interactions, Holmes continues to defend her company and its defunct technology, suggesting she still harbors ideas of pitching the venture to prospective investors. The footage shifts perspectives once Holmes enters prison, with Fielder pushing deeper into the narrative while Evans—who hails from a prominent hospitality family—steps into a more prominent on-screen role.
An official one-minute teaser trailer released by A24 features an intense close-up of Holmes telling Fielder that she does not “tiene nada en lo que engañarte” and insisting, “Siempre soy sincera.” According to Forbes México, while neither Holmes nor Evans had watched the final cut prior to the festival premiere, an active social media account associated with Holmes shared the teaser trailer on X the night of its debut alongside her defiant quote.
Critical Reception and Cinematic Precedent
Critics at Telluride praised the film for defying traditional documentary norms, blending elements of reality television and psychodrama. Variety critic Owen Gleiberman characterized the feature as “lo más alejado de un documental ‘puro’ que hayas visto nunca,” describing it as a unique psychodramatic circus. Meanwhile, Pete Hammond of Deadline noted that the 174-minute runtime offered access unlike any prior project, pointing out that Holmes had spent roughly a decade avoiding this level of media engagement before agreeing to the project.
Social media reactions from industry professionals matched the enthusiastic festival buzz. Film critic Scott Mantz took to X to call the movie gripping, original, and unexpectedly entertaining, emphasizing how difficult it is to look away from the unfolding reality.
As the film prepares for its wider theatrical release in October, audiences and industry analysts alike are left weighing the boundaries between documentary storytelling, subjective perception, and accountability. With no precise day yet locked in beyond its October launch window, viewers wanting a closer look at the fallout of Silicon Valley’s unchecked ambition will soon have a chance to experience Fielder and Oppenheim’s ambitious project on the big screen.
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