You Can See Everything Rises 25% to $19.5m in Rare Second-Weekend Climb

Nathan Fielder and Lance Oppenheim's three-hour Elizabeth Holmes documentary You Can See Everything rose 25% on its second weekend to gross another $19.5m — a rare climb even with an expanded screen count, and the box office story of the fall.

With more than $45m in North America, the film is already one of A24's biggest releases ever. It could finish in the company's top three, and place high on the all-time list of highest-grossing nonfiction features. The Guardian, which reported the figures and reviewed the Times Square screening, called it "a cultural moment".

The scale of the surprise is worth stress-testing. This is a three-hour documentary whose existence was announced roughly eight weeks ago. It is on track to outgross high-profile new studio releases including Practical Magic 2, Verity and Street Fighter. It has also outperformed co-director Oppenheim's fellow A24 hit Primetime, which stars Robert Pattinson.

What does this change for nonfiction film?

In practice, it resets the ceiling for what a documentary can open and sustain at the multiplex — provided, and this is the caveat, it arrives with the built-in notoriety of a figure like Holmes and the marketing pull of a name like Fielder. The film peers into, and by the Guardian's account helps create, "a hall of mirrors" around the famed med-tech scammer.

The audience behavior is as unusual as the numbers. The Guardian's critic, rewatching the film on a Saturday night in New York City, described a full 300-seat auditorium and "outsized audience reactions". Their stated reason for a second viewing: normally they rewatch films to share them with someone who hasn't seen it, but with You Can See Everything, "almost everyone I knew had seen it already; all I could do was observe strangers."

That detail cuts both ways. A documentary drawing repeat, word-of-mouth-driven attendance at that density is genuinely rare. But a single sold-out Times Square screening is anecdote, not data — and the $45m figure, while confirmed, covers North America only, with the final ranking among A24's top titles still to be settled.

Nor is the film an unqualified Obsession-level cash cow, as the Guardian itself notes. The comparison is to a horror phenomenon; You Can See Everything is probably, the paper argues, the more surprising commercial story of the two.

The companion controversy

The Guardian's coverage frames the film around more than money. A companion piece argues that in You Can See Everything, "it's Elizabeth Holmes's partner who makes for 2026's timeliest villain" — a reading centered on Billy Evans rather than Holmes herself. A separate feature unpacks the film's "secrets, lies and a shock A-list cameo" and asks how it became "the film of the year".

What remains unsaid in the box office reporting: international figures, streaming plans and the film's production budget. None of the three numbers has been disclosed.

For now, the trajectory is the story. A three-hour documentary, announced eight weeks ago, is beating studio tentpoles at the fall box office — and doing it on the strength of strangers packing auditoriums to watch a scammer's hall of mirrors a second time.