Joey Magidson
I think it’s safe to say that You Can See Everything is in the conversation for the film that defines the cinematic year of 2026. Whether you think it’s The Odyssey or this one, the documentary from Nathan Fielder and Lance Oppenheim has captured the attention, imagination, and interest of audiences like few other movies in recent memory. Not only does it seem poised to be an awards contender like almost no other doc has been, there’s a chance that this movie could do more than just contend. The buzz for a Best Picture nomination is building. Today, as I share updated Academy Award predictions, I want to tackle the cinematic elephant in the room. Does this flick have an actual chance to win the Oscar for Best Picture?
As a reminder, when I saw the movie back at the Telluride Film Festival, I shared a spoiler-free rave review (here) that said this, in part:
It is nearly impossible to explain why Nathan Fielder and Lance Oppenheim‘s You Can See Everything is one of the all-time documentary experiences without going into major spoiler territory. Hell, even Fielder himself, in the post screening Q&A here at the Telluride Film Festival, where it had a surprise World Premiere, stated “I’m struggling to this day to understand exactly what I experienced.” So, while I’ll do my best to explain why this is such a special work, just know that the experience is made even better by going in as blind as possible. I sat down only knowing that Fielder had made a 174 minute documentary about Elizabeth Holmes. Nearly three hours later, my jaw was on the floor and my breath had been taken away. This is not just one of the very best films at Telluride this year, it’s arguably one of the most stunning documentaries ever made.
You Can See Everything starts as one thing before becoming another. That latter half of the movie is something that shouldn’t be spoiled, though fans of Fielder will be delighted. The way this doc comes together, where it goes, and what it leaves you pondering are exactly what the form was made for. No one has done this quite like Fielder and Oppenheim have, though. This is very much a one of a kind work.
Nathan Fielder and Lance Oppenheim have made one of the all-time great documentaries here. Just by following their curiosity, they stumble upon something that questions the very meaning of truth. The fact that Fielder and Oppenheim struggle to come up with a satisfying answer in the case of Holmes only makes this more compelling. Fielder’s confusion about her is a massive asset, especially as it drives him to lengths you’d never believe if you weren’t seeing it on the screen.
You Can See Everything is a masterpiece of the form. You’ve never seen a documentary like this before. Telluride was abuzz all weekend about what would fill the TBA slot on Sunday night, with some wild speculations, so there was a high probability that the reveal would be a letdown. Instead, not only did we see one of the festival’s most stunning works ever, it’s a documentary experience that I’ll never forget. Truly, I may think about this movie for the rest of my life.
Now, I want to share some of my article I wrote two weeks ago (here) on why the film is a legitimate contender for a Best Picture nomination. That piece included the following:
First of all, it’s worth noting just how much of a breakthrough a Best Picture nomination would be for the work. No documentary has ever been nominated at the Academy Awards in the biggest category, and truly, only a few have ever even sniffed true contention. Hoop Dreams arguably came the closest, while Fahrenheit 9/11 was once considered a possibility. Other than that? Any other doc was a real stretch. This is really the first time the conversation, especially at this point in the season, has been had with a true feeling that the nomination is in reach. The next question to ask is, well…why?
I’m currently predicting You Can See Everything for a Best Picture nomination, alongside citations in Best Documentary Feature (where it’s my current winner, though that category could go in a lot of directions), Best Film Editing, and on the cusp of a nomination in Best Supporting Actress (which I’m still not ready to spoil/talk about). In fact, I don’t think Best Director for Fielder and Oppenheim is an insane thing to consider, nor is an extra citation like Best Original Score. Documentaries never really have across the board campaigns that go anywhere, so even here in late October, this is uncharted territory.
Another interesting aspect of this is how, even as people are learning the secrets contained within, the discussions are only intensifying. What started as a bit of a mystery after Telluride, where folks like yours truly talked around the details, is now being dissected in a way only certain things can hope to be. That equates to passion, and when it comes to voting for the Academy Awards, an Oscar ballot is chock full of passion plays.
When you combine the box office, the reviews, the industry buzz, the way the film has captured the zeitgeist, and the unique way that it can cross various audience demographics, and you have something special. Already we’re seeing packed Academy screenings, which are not the be all, end all, but are noteworthy, as well as the internet meme world going to town on the movie. That combination is something Oppenheimer can sport. This? Now that’s the sort of thing you shouldn’t sleep on.
The precursor season will tell us a lot, but right now, I think all of the pieces are in place for You Can See Everything to break the Academy glass ceiling for documentaries. Especially if this one becomes a frontrunner, documentary-wise, it can only strengthen its case. This is such a unique work, it’s only fitting that it could become a unique contender. The next few months are going to be fascinating, so sit tight…
So, I’ve made the case why a nomination could be in the cards. If that happens, what of a potential upset win? Well, if you look at my predictions, you’ll see that I have it currently at number two in Best Picture. I’ve had it at two or three for the last week or so, after inserting it initially down at the bottom of the lineup. Getting in will be no easy task, but if that happens, it immediately does feel like it’s in the conversation, alongside The Odyssey and La bola negra, as a potential winner. Could something like Wild Horse Nine or I Play Rocky have upward mobility? Sure. Maybe Project Hail Mary has a run to the top of the category before all is said and done? I wouldn’t completely rule it out. However, if the Academy is thinking about what the year in film meant, there’s only two real contenders. One is Christopher Nolan‘s epic. The other is You Can See Everything.
Now, this doesn’t discount La bola negra from winning. I just think the initial wave of The Odyssey steamrolling to a win has crested. Initially, it was La bola negra during the fall festivals that scooped up a lot of the momentum, even taking the pole position in some of my colleagues’ predictions. Now? I see the path for You Can See Everything. I still would back The Odyssey and predict it, if voting happened today. However, if voting was today, Fielder and Oppenheim’s documentary probably would be no worse than third. If it can build on that momentum and zeitgeist capturing feel? Watch out…
My prior early prediction article (found here) is available for your perusal, and can see some more of the changes I’ve been making along the way, as we’re very much in the thick of it all now. The very first precursors have begin, category placement decisions are being made, and the start of precursor season in earnest is much closer than you might realize…
Folks, as always you can see my newest crack at Oscar predictions right here at Awards Radar (look for initial Golden Globe predictions to drop with the next update, potentially before Thanksgiving). The changes are coming, and will continue to come, especially as we see more from studios in terms of their potential campaigning plans. So, sit tight!
Stay tuned for another update to these Oscar predictions in a few weeks!
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