Nathan Fielder’s Surprise Call From Elizabeth Holmes: ‘I Trust You’

You can now see a film that challenges expectations and explores complex subjects with Fielder's signature style.

Filmmaker Nathan Fielder secretly developed a documentary titled "You Can See Everything," co-directed with Lance Oppenheim. The film documents a 34-day period involving Elizabeth Holmes and her partner Billy Evans before Holmes' incarceration. Fielder initially approached the project with extreme secrecy, requiring NDAs for anyone who wanted to learn about it, including WIRED magazine for a cover story. This secrecy was partly to protect the subjects and partly to maintain creative control over the narrative before public release. The film debuted at the Telluride Film Festival in early September, generating significant online buzz and speculation. Fielder discussed his meticulous approach to filmmaking and the unique challenges of documenting Holmes, noting that the public often projects their own interpretations onto his work and the subjects he covers.

The secretive production and surprise release of "You Can See Everything" highlight a growing trend in the film industry towards leveraging mystery and direct audience engagement, bypassing traditional marketing channels. Fielder's approach, demanding NDAs even for potential press, indicates a desire to control the narrative entirely, focusing on the unfiltered experience of the documentary itself. This strategy, while effective for generating buzz, creates a high barrier to entry for coverage and analysis, positioning the film as an exclusive event rather than an accessible piece of media.

This release strategy and the nature of the film, which delves into the psychology of Elizabeth Holmes, suggest a market interest in deeply personal, and even ethically ambiguous, true-crime narratives presented through a distinctive artistic lens. The film's focus on subjective experience and the blurring lines between documentary and Fielder's own persona invite viewers to question authenticity and perception, resonating with audiences drawn to meta-commentary and unconventional storytelling.