The cinematic landscape is facing a potential shakeup as You Can See Everything prepares for an unprecedented awards campaign. Directed by Nathan Fielder and Lance Oppenheim, the A24 documentary offers a chillingly intimate look at the final thirty four days before Theranos founder Elizabeth Holmes reported to prison. The film has already shattered expectations at the box office, earning fifteen million dollars in its opening weekend, a figure almost unheard of for non fiction cinema. Critical reception has been equally staggering, with scores suggesting it could potentially dethrone The Shawshank Redemption as the highest rated movie of all time on IMDb.
In a move that challenges long standing industry norms, A24 is submitting the project for several heavy hitting categories at the ninety ninth Academy Awards. While a nod for best documentary feature is expected, the studio is aggressively pursuing best picture and best director honors. No documentary has ever been nominated for the top prize in nearly a century of Oscar history, but the overwhelming cultural momentum behind this release suggests that the Academy might finally be ready to break that streak. Technical categories ranging from cinematography to original score are also on the ballot.
One of the most intriguing aspects of the campaign involves Amanda Seyfried, who delivers a dual performance appearing as both herself and as Elizabeth Holmes in reconstructed scenes. Because she reprises her role from The Dropout within these dramatizations, Variety reports she will be campaigned specifically in the supporting actress category. It would be a rare feat to seek an Oscar for playing two different versions of reality simultaneously. Meanwhile, despite his prominent presence in the film, Nathan Fielder will not seek an acting nomination, avoiding a historical trend where performers playing themselves are typically ignored by voting members.
Despite its strength heading into the Oscars, the road remains complicated due to varying eligibility rules across other prestige circuits. The Golden Globes and Screen Actors Guild currently maintain restrictions against recognizing documentaries, though some insiders believe exceptions could be made given the film’s hybrid nature. While it faces hurdles at BAFTA and lacks a screenplay for WGA consideration, it stands fully eligible for the Critics Choice Awards and Director’s Guild of America prizes. As we enter uncharted waters for non fiction storytelling, all eyes are on whether this experimental approach can translate into historic gold statues.
