A24’s You Can See Everything, the documentary about former Theranos founder Elizabeth Holmes directed by Nathan Fielder and Lance Oppenheim, will open in US theatres on October 16, 2026. The film is attracting attention on three fronts ahead of its release: strong reported presales at Alamo Drafthouse, a growing response to its festival screenings and the possibility of competing in the upcoming Academy Awards. Deadline reported on October 7 that the documentary had recorded the highest presales of any A24 title and any documentary previously shown at the cinema chain, placing it second among all titles in Alamo Drafthouse presales behind Avengers: Doomsday. A24 has also listed the film for awards consideration, including in the Best Picture and Best Documentary categories.
The presale figures are notable because they concern a documentary rather than a conventional studio release. According to Deadline’s report, You Can See Everything had become the strongest-selling A24 title in Alamo Drafthouse’s presale history, while also setting a record among documentaries previously exhibited by the chain. The film was ranked second across all titles, behind Avengers: Doomsday, which is scheduled to open on December 18. You Can See Everything is set for a limited theatrical release beginning October 16.
The distinction between a cinema-chain record and the wider US market is important. Deadline’s report concerns presales at Alamo Drafthouse; it does not provide nationwide advance-ticket sales, total presale revenue or an opening-weekend projection for the documentary. The figures therefore establish strong early demand within that exhibition network, but they do not yet show how the film will perform across the broader theatrical market. Its box-office performance will become clearer after it opens and more information about its release and ticket sales becomes available.
The documentary follows Holmes during the 34 days before she reported to prison in May 2023. Holmes, who founded the blood-testing company Theranos, was convicted of fraud connected to the company’s claims about its technology and its dealings with investors. The film examines her life in the period leading up to her incarceration, including her relationship with partner Billy Evans and their children.
According to the official A24 synopsis, what begins as an intimate portrait of Holmes develops into a three-year filmmaking project. The documentary was made largely in secret, with Fielder and Oppenheim gaining access to Holmes and her family. The film runs for approximately 174 minutes, making it an unusually long documentary for a theatrical release.
The filmmakers’ access to Holmes is central to the film’s approach. Reporting by the Associated Press described the project as an unconventional examination of Holmes in the period before her imprisonment, with footage that blurs the boundaries between documentary observation and performance. The film also raises questions about the relationship between filmmakers and their subjects, particularly when the people being documented have a complicated public history and their own reasons for participating.
Fielder, known for projects that challenge the boundaries between reality and constructed situations, co-directed the documentary with Oppenheim. Their approach attracted attention when the film made a surprise debut at the Telluride Film Festival before screening at the New York Film Festival. The New York screening brought the project into wider public view after its production had remained largely under wraps. The Associated Press report noted the film’s extended running time, its intimate footage and the unusual circumstances under which it was made.
The film’s festival reception has also contributed to early awards-season discussion. Variety reported on the response following the Telluride screening and discussed the filmmakers’ experience of living close to Holmes while documenting her life. The film’s access, length and shifting relationship between observation and performance have become key elements of the conversation surrounding it. The response has helped place the documentary on the radar of awards watchers ahead of its commercial release.
A24 has now made the awards conversation more concrete by listing You Can See Everything on its official awards consideration page. The campaign includes Best Picture and Best Documentary, as well as categories such as directing, cinematography, film editing, production design, costume design, makeup and hairstyling, original score and sound. The listing confirms that the distributor is putting the film forward for awards consideration; it does not mean that the film has received an Oscar nomination.
Best Picture consideration also involves requirements beyond a film’s release date and critical response. The Academy’s official eligibility guidance states that films must meet qualifying theatrical-release requirements, while Best Picture has additional requirements concerning an expanded theatrical run and the Academy’s Representation and Inclusion Standards. The film’s October release falls within the 2026 calendar-year eligibility period, but its release and campaign details must satisfy the relevant rules for it to qualify. Awards consideration should therefore be distinguished from confirmed eligibility and, ultimately, a nomination.
The documentary’s commercial and awards prospects are developing at the same time, but they depend on different measures. The Alamo Drafthouse presale report provides an early indication of audience interest at one cinema chain. Its festival screenings have generated attention from critics and industry observers, while A24’s awards page establishes that the distributor is pursuing consideration across multiple categories. None of these developments, individually or together, guarantees a strong nationwide box office result or an Oscar nomination.
You Can See Everything arrives in US theatres on October 16, following its festival appearances and a period of growing attention around its unusual access to Holmes. The presale rankings give the documentary a notable early trade story, while the awards campaign positions it for consideration during the upcoming Oscar season. Its theatrical run will provide the next indication of whether the interest reported at Alamo Drafthouse translates into a wider audience.
