Collider’s new 10-film guide turns where to watch You Can See Everything into a follow-up assignment for viewers who want the same genre blur. The nearly three-hour-long documentary about Elizabeth Holmes is being treated as more than a one-note profile, and the list is built around that broader appeal.
That framing matters because the film is described as long, patiently paced, and not a blockbuster, yet it has still been making a ton of money and proving very thought-provoking. Nathan Fielder is at his most Nathan Fielder in the film, and Lance Oppenheim also brings a lot to it.
Orson Welles and F for Fake
The list’s spine starts with films that treat fact as material, not a fixed category. Orson Welles is associated first and foremost with Citizen Kane, and he also made a radio adaptation of The War of the Worlds, but F for Fake is the sharper fit here: a weird arthouse documentary that is not wholly a documentary, more of a feature-length magic trick about fakery and deception.
That approach gives viewers a practical roadmap. If You Can See Everything works for them because it keeps shifting ground while still moving forward, F for Fake is the clearest older model in the set.
Close-Up and identity play
Close-Up pushes the same idea in a more explicit way, blending fact and fiction while featuring people playing themselves in a story about a man who was arrested for impersonating a filmmaker. The film also explores subjects surrounding the art of filmmaking and the idea of identity, which puts it squarely in the same lane as a documentary that does more beyond being about Elizabeth Holmes.
For viewers, that is the useful filter: these are not just documentaries in the plain sense, but works that build their tension through performance, self-mythmaking, and unstable authorship.
Man on the Moon, Jim Carrey
Almost two decades earlier, Man on the Moon came out, and the recommendation list uses it as another bridge between persona and portrait. The film starred Jim Carrey as Andy Kaufman, and Jim & Andy: The Great Beyond is a documentary about that movie.
That pairing gives the list a strong second route for viewers who want the behind-the-scenes version of performance itself. The inclusion also makes the recommendation set feel deliberate rather than random, since it moves from documentaries to part-documentaries and then to heavily meta films without pretending those categories are the same thing.
Collider’s list is useful because it answers the immediate practical question for viewers: what should they watch after You Can See Everything? The best first stop is the row of films that treat reality as an edit decision, not a locked record, which is exactly the lane this recommendation set builds.
