Collider has put together 10 movies to watch if you loved You Can See Everything, a nearly three-hour-long documentary about Elizabeth Holmes that starts one way and ends up doing more than that. The timing fits a film that has been long, patiently paced and still managed to make a ton of money, because viewers who finish it are often left looking for something with the same sideways pull.
That search starts with Nathan Fielder, who is at his most Nathan Fielder in You Can See Everything, and with Lance Oppenheim, the documentarian and filmmaker behind it. The recommendation list is built for viewers who want more work that bends documentary language without losing the pleasure of a good story. It also gives a practical answer to a simple question: where to watch next if a movie leaves you wanting the same blend of joke, discomfort and careful construction.
Some of the titles on the list lean hard into the blur between fact and fiction, which is the thread that ties them to You Can See Everything. F for Fake, for instance, is Orson Welles making a weird arthouse documentary that is not wholly a documentary at all. It plays more like a feature-length magic trick, and the subject is fakery and deception. Close-Up pushes in a different direction, blending fact and fiction while casting people as themselves in a story about a man arrested for impersonating a filmmaker. It also turns filmmaking and identity into part of the mystery, which is exactly the sort of move that makes these recommendations feel less like a list and more like a map.
Jim & Andy: The Great Beyond takes the same idea and flips it onto performance. It is a documentary about Man on the Moon, the movie starring Jim Carrey, who played Andy Kaufman almost two decades earlier. That distance matters because it shows how far a film can travel from the thing it is supposedly recording while still telling the truth about how a role gets lived. You Can See Everything does something similar by beginning as a documentary of sorts and then moving beyond the obvious frame without giving away the turn.
That is why the list works as more than a set of suggestions. It is aimed at viewers who liked a film that feels long, controlled and sly, then reveals how much it is willing to bend the rules once you think you know what you are watching. The one piece left hanging is the full set of 10 movies, which turns the roundup into an invitation rather than a complete inventory. For anyone who wants the same kind of mind-bending watch, the point is already clear: the next movie should not just resemble You Can See Everything, it should unsettle the line between what is real and what is performed.
