Not many saw this coming, especially since we only learned this film existed six weeks ago. A nearly three-hour documentary about Elizabeth Holmes is about to pull off one of the most remarkable box office runs of the year.
No, the biggest story at the box office this weekend isn't "Digger" losing 76% of its screens, or "Street Fighter" turning $4M in Thursday previews into a $30M-ish No. 1 opening. Quite simply, it's Nathan Fielder, Lance Oppenheim, Elizabeth Holmes, and her clearly coked-out husband, Billy Evans. Tell me you didn't notice the constant sniffling.
A24's “You Can See Everything” grossed almost $1.8M in Thursday previews and is now tracking toward a $10M+ opening weekend. That's an unheard-of number for a nonfiction film, let alone one that runs 174 minutes and carries an R rating.
Oh, and by the way, the film is playing on only 855 screens this weekend. Its per-theater average is going to be one of the biggest of 2026 for a wide release. That kind of word of mouth matters, because A24 has quickly decided to take the film wider next Friday.
Nathan Fielder and Lance Oppenheim’s doc was revealed as Telluride's secret TBA screening during the first weekend of September and has been one of the most talked-about films of the fall ever since.
The audience numbers are insane. On PostTrak, it scored 92% definite recommend and 100% positive. For a nearly three-hour documentary that flirts with Kiarostami territory, that's remarkable. This is a film that plays with the line between performance and reality the way “Close-Up” did, and general audiences aren't just tolerating it; they're embracing it.
If those scores hold, this isn't a one-weekend curiosity. It's a phenomenon with legs, and it has just made itself a serious awards player. I’ll open up a “Readers' Thoughts” post tomorrow so you can share your reviews of this beguiling film, and I’ll expand on my previous thoughts. The film, by the way, sits at 98 on Metacritic. It actually rose a point.
But seriously, go see this film, and go in blind. Even if you don't care for Fielder's brand of deadpan comedy, it will spark a fascinating conversation with yourself. By the end, I wasn't entirely sure what I had just witnessed, and I mean that as a compliment.
Abdy and De Luca want real theatrical guarantees. A deal is possible, but it would have to come with major concessions since Netflix, and Sarandos in particular, aren’t particularly keen on the theatrical model.