A24's Elizabeth Holmes Doc Opens to $15 Million on 855 Screens

By Daniel Okafor

“You Can See Everything,” A24's gonzo documentary about Elizabeth Holmes, opened to $15 million from 855 screens. That's the second-best debut ever for a non-music documentary, behind only “Fahrenheit 9/11,” which took $23.9 million in 2004. Michael Moore had an election year working for him. This film had a subject who has been inescapable for nearly a decade, which makes the number more startling, not less.

Holmes, the convicted fraudster whose blood-testing startup Theranos collapsed eight years ago, has been everywhere: podcasts, Alex Gibney documentaries, best-sellers, and an Amanda Seyfried portrayal on TV. Audiences still bought tickets fast enough to produce more than 2,000 sellouts, according to A24. Nobody, apparently, wanted the ending spoiled.

Who made the film — and why the pairing works?

Nathan Fielder and Lance Oppenheim co-directed. Fielder built his following with Comedy Central's “Nathan for You” and HBO's “The Rehearsal,” shows that push meta comedy to the breaking point, and his awkward energy sits well against Holmes's famously unblinking stare. Oppenheim arrives off another A24 hit, the Robert Pattinson drama “Primetime,” about “To Catch a Predator” host Chris Hansen, which grossed nearly $45 million on a $14.5 million budget.

“You Can See Everything” carries a $7 million budget. The math is not subtle. A $15 million opening against $7 million in costs sets up, as the source puts it, “a very, very profitable run.”

How did A24 market a documentary nobody knew anything about?

By revealing next to nothing. The campaign teased secrets the film promised to disclose without disclosing them, and scarcity did the rest. It's a rare case of withholding information functioning as the entire promotional strategy. The studio reported the 2,000-plus sellouts as evidence.

What a difference a year makes for A24?

Last winter, the story was grim. A24 raised $75 million in 2024 from Thrive Capital at a $3.5 billion valuation, then spent some of it on expensive misfires. “The Smashing Machine” cost $50 million, was meant to win Dwayne Johnson an Oscar, and grossed $21.1 million. Ari Aster's COVID-era “Eddington” was also roundly rejected.

Since “Marty Supreme” opened in December 2025, the streak has been emphatic. That ping-pong drama became A24's highest-grossing release ever at $192.4 million on a $70 million budget — until “Backrooms” premiered in summer and grossed more than $400 million on $10 million. There have been misses (“Mother Mary” deserves better), but hits like “Tony” and “The Drama” now outnumber the flops.

With Warner Bros. and Fox being sold off or disappearing, A24 and its $3.5 billion valuation stand as the clearest refuge for auteurs like Fielder and Oppenheim: artistic freedom plus an audience larger than specialty cinema usually delivers. And in Holmes — an entrepreneur who hoodwinked Beltway power brokers before lighting billions on fire — the studio has found the most reliable hook in show business: a fall from grace.