Nathan Fielder and Lance Oppenheim Debut Documentary You Can See Everything
In a column for The Mount Observer, editor-in-chief Cheyenne Bong argues that Nathan Fielder and Lance Oppenheim’s new three-hour documentary, You Can See Everything, stands as the best film released in 2026. The critic reports that audiences at packed screenings sit in complete, tense silence from open to close, describing the viewing experience as a mental rollercoaster driven by relentless psychological tension.
The documentary follows surrealist comedian Nathan Fielder as he documents his time with Elizabeth Holmes, the founder of the blood-testing company Theranos, in the month before she goes to jail for fraud. As Fielder interacts with Holmes and her partner Billy Evans, the narrative shifts past her arrest. Bong writes that the film forces viewers to question whether the events unfolding on screen can be trusted at all, blurring the line between objective reality and manufactured performance.
A Cinematic Landscape of 2026 Releases
The release arrives amid a crowded slate of 2026 cinema spanning independent projects, mid-budget outsiders, and major franchise blockbusters. Independent titles like Backrooms, Obsession, and Iron Lung debuted alongside mid-budget features including The Sheep Detectives, Coyote Vs. Acme, The Drama, and Resident Evil. Big-budget studio releases filled the calendar with Disclosure Day, Project: Hail Mary, The Odyssey, and Michael, alongside traditional franchise entries such as Spider-Man: Brand New Day, Supergirl, Masters of the Universe, Toy Story 5, Scream 7, Star Wars: The Mandalorian and Grogu, and Minions & Monsters. Despite that extensive studio output, Bong asserts that the Fielder and Oppenheim documentary is the best movie to come out this year.
The Slippery Nature of Documentary Truth
According to the review, the film investigates how audiences naturally place trust in the documentary format to deliver objective truth. Bong observes that Fielder treats truth as a game, while capitalists like Holmes and Evans handle it as a colosseum to be survived and conquered, and documentary filmmakers like Oppenheim shape it into an artistic display. The column concludes that viewers exit screenings with a haunting realization that even when every detail is visible on screen, making sense of the underlying reality remains entirely elusive.
