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A Hyperallergic review of Nathan Fielder and Lance Oppenheim’s 2026 film You Can See Everything argues that Fielder’s close involvement with Elizabeth Holmes’s family makes his role more than that of a conventional observer. The review raises the possibility that the documentary also works as a performance, while making clear that this is an interpretation, not a confirmed description of Fielder’s intent.
Hyperallergic has published a review of Nathan Fielder and Lance Oppenheim’s 2026 documentary You Can See Everything, arguing that Fielder may be acting not just as a filmmaker but as a performance artist inside the film. The review focuses on his extended access to Elizabeth Holmes and her family, framing his on-camera presence as part of the work’s meaning; it does not establish that Fielder himself describes the project that way.
The review says Fielder spent 34 days filming and questioning Holmes, her partner Billy Evans and their two children at a California beachfront rental. According to the account, Fielder eventually moved into the property’s guesthouse shortly before Holmes was due to begin an 11-year prison sentence. Holmes was convicted of defrauding investors and patients through Theranos, the company whose blood-testing technology falsely claimed it could perform a wide range of tests using a few drops of blood.
Holmes and Evans present their participation as an effort at “radical transparency” and hope to persuade the public that Holmes is innocent, the review reports. They say they selected Fielder because he “thinks outside the box.” The review treats that stated aim with skepticism, suggesting the film’s access and intimacy complicate the family’s effort to control what viewers see.
Among the scenes the reviewer highlights, Fielder films himself watching Holmes and Evans embrace from a distance, then sits close to Holmes on a couch while a hand strokes her shoulder. The image initially leaves the hand’s identity ambiguous, the review says, before the camera shows Evans on the other side. Holmes also sends Fielder a flirtatious text: “fyi you can totally see everything.” The reviewer reads the title as a provocation about who is observing whom, rather than a simple promise of openness.
Fielder’s Presence Becomes Part of the Film
The review’s central point is that the filmmaker’s conduct is part of what viewers are asked to interpret. By moving into the family’s guesthouse and appearing within intimate scenes, Fielder changes the relationship between observer and subject. The camera is not simply recording a situation from outside it: the reviewer argues that Fielder’s proximity may shape the behavior and tensions being recorded.
That reading matters because Holmes’s participation is presented as an attempt to influence public understanding of her case. A documentary made under those conditions raises questions about access, control and performance: what the family chooses to reveal, what the filmmaker’s presence elicits, and how an audience distinguishes a recorded interaction from one shaped by the act of filming. The review does not resolve those questions, but makes them central to its assessment of the film.
The performance-art comparison also offers a way to understand the film’s form. The reviewer connects Fielder’s use of his own body and presence to art practices in which an artist’s actions and the audience’s response become part of the work. This is the writer’s critical framework, rather than a confirmed statement of Fielder’s artistic intention.
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Holmes, Theranos and the Film’s Access
Holmes founded Theranos, which promoted blood-testing technology that the company claimed could run many tests from a small blood sample. The review describes that technology claim as false and says Holmes was convicted of defrauding investors and patients. It places the filming shortly before she was to begin an 11-year sentence, making the family’s stated effort to present her as innocent a key part of the documentary’s setting.
The review situates its interpretation alongside performance art, referring to works by Marina Abramović, Chris Burden, Yoko Ono and Carolee Schneemann. It cites artist Martha Wilson’s description of performance art as an intervention unfolding in real time, often with the artist’s body at its center. The comparison is intended to illuminate Fielder’s involvement in the scenes, not to classify the film definitively or equate it with those artists’ work.
You Can See Everything is directed by Nathan Fielder and Lance Oppenheim and is described in the source as a documentary. Hyperallergic’s piece is a film review, and its claims about the film’s artistic meaning should be understood as criticism rather than independent reporting on the filmmakers’ intentions.
““fyi you can totally see everything.””
— Holmes, in a text message quoted by the Hyperallergic review
Fielder’s Intent Remains Unstated
The source is a review, not a reported account of the filmmakers’ intentions. It does not establish whether Fielder considers himself a performance artist, whether he deliberately designed his presence as a performance, or how he and Oppenheim describe the film’s approach. The performance-art framing belongs to the reviewer.
The available material also does not provide responses from Fielder, Oppenheim, Holmes or Evans to the review’s interpretation. It does not specify the film’s release schedule, distribution details or broader reception. Those points remain unconfirmed in the source and should not be inferred from the review alone.
The Film’s Reception Will Add Context
The immediate development is the publication of Hyperallergic’s review of the 2026 film. Further understanding of the project’s aims would depend on statements from Fielder and Oppenheim, as well as additional reporting or interviews about how filming was arranged and how the family’s access to the process was handled.
As the film reaches audiences and receives further coverage, viewers and critics may assess whether its close access supports the family’s presentation, complicates it, or does both. For now, the clearest distinction is between the film’s reported scenes and the reviewer’s interpretation of Fielder’s role: the former are described in the review, while the latter remains an argument about what those scenes mean.
Key Questions
What is You Can See Everything?
It is a 2026 documentary directed by Nathan Fielder and Lance Oppenheim, as identified in the Hyperallergic review. The review describes Fielder filming Elizabeth Holmes, her partner Billy Evans and their children.
Why does the review call Fielder a possible performance artist?
The reviewer argues that Fielder’s physical presence and close involvement with the family make him part of the action he records. Calling that performance art is the reviewer’s interpretation, not a confirmed statement of Fielder’s own view.
What does the review say about Holmes’s participation?
It says Holmes and Evans described the project as an effort at “radical transparency” and hoped to persuade the public that Holmes was innocent. That account is attributed to the review.
What remains unknown about the film?
The source does not establish whether Fielder intended the film as performance art or provide responses from the directors and subjects to the review’s reading. It also gives no further details about distribution or wider audience reception.
Source: hyperallergic.com
