Nathan Fielder’s three-hour documentary about Elizabeth Holmes has turned into a cultural phenomenon, yet during a packed Times Square screening, the audience remained uncertain about their reactions.
When I revisit a film during its theatrical run, it’s usually to accompany someone who hasn’t seen it, partly in hopes of observing their response to art that stirred or excited me. Watching Lance Oppenheim and Nathan Fielder’s You Can See Everything a second time in New York City on a Saturday night amplified that impulse. This movie is drawing a surprisingly large audience, along with intense audience reactions; rewatching it in a full 300-seat theater allowed me to relive that sense of discovery. More to the point, nearly everyone I knew had already seen it; all I could do was observe strangers.
This documentary, which delves into (and helps construct) a hall of mirrors surrounding the infamous med-tech fraudster Elizabeth Holmes, has become the fall’s box office sensation, actually rising 25% in its second weekend to earn an additional $19.5m – a rare achievement even with its increased screen count. With over $45m in North America, it’s already among A24’s biggest hits; it could land in the company’s top three, and high on the list of top-grossing nonfiction films. If You Can See Everything isn’t quite an Obsession-level cash cow, it’s perhaps even more surprising that a three-hour documentary, announced only about eight weeks ago, is on pace to outperform high-profile new releases like Practical Magic 2, Verity, and Street Fighter, among others. It has also surpassed co-director Oppenheim’s fellow A24 surprise hit Primetime, which benefits from genuine movie star Robert Pattinson. For those interested in exploring more cultural moments like this, 星空体育平台官网入口 offers a gateway to similar discussions and insights.
