Thirty-four days before she’s sent to prison, notorious Silicon Valley founder Elizabeth Holmes invites a sceptical film crew to document her every move. What begins as an intimate portrait of an enigmatic felon becomes a mind-bending three-year journey into the abyss.

The Garden Cinema View:

It’s hard to write about You Can See Everything without spoiling the experience, so we’ll keep this vague…

Suffice to say, this is both a continuation and an evolution of Nathan Fielder’s exploration into the boundaries of performance and authenticity, and reality and fiction. Fielder’s own ‘persona’ is dialled back. An occasional awkward joke or line reminding fans of his TV work that this is a different proposition to Nathan for You or The Rehearsal. There is a real sense of volatility in terms of who is in control of the narrative here. Puppetmaster Fielder, or Elizabeth Holmes and her unsettling partner Billy Evans. However, this is also the most formally rigorous – and cinematic – work that Fielder has been involved in. Co-director Lance Oppenheim uses a remarkably strict and sustained aesthetic. Almost always shooting in extreme close-ups, and with an unusual square aspect ratio.

This is a detective story, a game of wits, and a laugh-out-loud comedy which utterly grips for a near 3-hour runtime. It’s rather unique and endlessly fascinating to think about.