Updated

Updated · Hollywood Reporter · Nov 9

You Can See Everything Sweeps 5 Critics Choice Documentary Awards as 14th Goes 0-for-6

Updated

Updated · Hollywood Reporter · Nov 9

You Can See Everything Sweeps 5 Critics Choice Documentary Awards as 14th Goes 0-for-6

Q: Why did the directors of this acclaimed documentary rely on scripted reenactments for the second half of the film?

They relied on scripted reenactments because they could no longer directly film key events in the film’s later section and still needed a way to depict what happened with precision. By the directors’ own account, the second half required a different method because of legal and access constraints. After Elizabeth Holmes went to prison, important conversations and developments were not available to the cameras, and some earlier pivotal meetings had happened before production began. Oppenheim said those later scenes were therefore recreated from memory and written into scripts. That approach also fit the film’s larger investigative purpose. Fielder and Oppenheim were trying to examine events they experienced but could not document in real time, including disputed conversations and questions around Billy Evans’ role in shaping Holmes’ image and the documentary itself. The reenactments let them present those moments while signaling to viewers that they were reconstructed rather than observed footage. In practice, the method became part of the documentary’s style: using scripted recreations, including scenes performed by Amanda Seyfried as Holmes, to fill factual gaps caused by limited access while also exposing the uncertainty, mediation and subjectivity involved in telling Holmes’ story.

3 articles · Updated · Hollywood Reporter · Nov 9

Five wins from five nominations made You Can See Everything the dominant film at Sunday’s 2026 Critics Choice Documentary Awards, giving the Elizabeth Holmes documentary its first major awards haul.
The A24 release took best documentary feature plus director, cinematography, editing and score, extending momentum that has built since its Telluride debut and Oct. 16 theatrical launch.
Nearly $80 million in domestic box office has already made the film one of the highest-grossing documentaries ever, while awards-season talk has expanded beyond its documentary-feature Oscar nomination.
Elsewhere, Once Upon a Time in Harlem won 3 awards, Nuisance Bear took best science/nature documentary, and Ava DuVernay’s 14th was shut out despite leading the field with 6 nominations.