“The greatest trick the devil ever pulled was convincing the world he didn’t exist.” — The Usual Suspects
The documentary also examines the broader implications of truth in storytelling. Holmes and Evans pitched their narrative under the guise of a documentary, but Fielder and Oppenheim, known for blurring reality and performance, offer a film that challenges viewers to discern truth from fiction. This is reminiscent of legal precedents where dramatizations are not expected to be interpreted as fact. The filmmakers’ approach raises questions about whether audiences can separate entertainment from reality. Research shows that viewers often struggle to distinguish between fact and fiction, highlighting the film’s role in questioning our understanding of truth.
The film further explores the use of Holmes’ image by various parties, including her partners and the filmmakers themselves. Holmes’ portrayal as both a manipulative figure and a victim of manipulation reflects the complex interplay of narratives at play. Her partner, Evans, is shown as controlling, while her past relationships also hint at possible abuse. The documentary juxtaposes these personal dynamics with the broader societal tendency to exploit and manipulate images for personal gain. This is evident in how Holmes’ story has been retold and reshaped, whether through the filmmakers’ lens or through dramatizations like “The Dropout.”
“You can see everything” is a promise Holmes makes to Fielder early in the documentary. But it also points to the filmmakers’ understanding of what they are doing here.
Ultimately, “You Can See Everything” is a reflection on the human propensity to manipulate and be manipulated. It questions the authenticity of truth and challenges viewers to confront their biases and assumptions. By presenting Holmes as both a victim and a perpetrator, the film leaves audiences with more questions than answers. It suggests that perhaps no one truly knows anyone, including themselves. This ambiguity is the film’s ultimate trick, leaving viewers to grapple with their perceptions and the unsettling possibility that they, too, can be deceived.
In conclusion, the documentary offers a multifaceted exploration of Elizabeth Holmes’ story, weaving together themes of deception, manipulation, and the elusive nature of truth. It serves as a reminder that truth is often subjective, and the narratives we construct can be as misleading as the lies we tell ourselves. Through its innovative storytelling, “You Can See Everything” invites audiences to question the very nature of reality and the stories we choose to believe.
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