Nathan Fielder’s Elizabeth Holmes Doc Drops Full Trailer — and You Will Want to See Everything
The truth is (probably) out there.
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Inside the Bombshell Article That Inspired ‘Primetime’
Writer Luke Dittrich reflects on his widely read Esquire article on Chris Hansen and ‘To Catch a Predator’ from 20 years ago, how his perspective has evolved over the years, and what it was like to visit the set.
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Jonathan Lipnicki on His (Full-Frontal) Role as a Predator Opposite Robert Pattinson in ‘Primetime’
The former child star — famous for telling Tom Cruise “a human head weighs eight pounds” in ‘Jerry Maguire’ — opens up about baring all in the new film and why he chose to leave LA.
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Nathan Fielder’s Elizabeth Holmes Documentary Holds a Raucous and Revealing NYFF Screening
‘You Can See Everything,’ which he directed with Lance Oppenheim, shows the elephant — sort of.
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Elizabeth Holmes and Husband Billy Haven’t Seen ‘You Can See Everything,’ Nathan Fielder Says Communication With Couple “Broke Down”
Fielder and Lance Oppenheim brought their doc, which starts following Holmes and her family in the month before she’s sent to prison, to L.A. on Tuesday night.
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Nathan Fielder’s Elizabeth Holmes Doc Sets U.K. Release Date
A24’s ‘You Can See Everything,’ co-directed by Lance Oppenheim, will hit theaters in Britain and Ireland in November.
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‘Street Fighter’ Eyes Box Office Victory as Buzzy Elizabeth Holmes Doc Heads for Strong Launch
‘You Can See Everything,’ ‘Whalefall’ and ‘Sense and Sensibility’ are among the weekend’s notable newcomers.
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‘You Can See Everything’ Triumphs With $15M as ‘Street Fighter’ Wins Weekend
A24’s Elizabeth Holmes documentary had audiences pumped, notching 2,000 sellout screenings and becoming the highest-grossing title in two decades for a release under 1,000 theaters.
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The Six Things You Don’t See In ‘You Can See Everything’
Now that you’ve witnessed something, let us illuminate some other things.
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‘You Can See Everything’ Is a Gothic Romance for the Ages
Here’s why Nathan Fielder and Lance Oppenheim’s hit doc is a shared-unreality narrative soon to be taught in film schools alongside ‘Rebecca,’ ‘Gaslight’ and ‘Mulholland Drive.’
