Oscar Buzz for "You Can See Everything": A Documentary Redefining Awards Season

A recent A24 documentary, "You Can See Everything," has emerged as an unexpected and significant contender in the upcoming Academy Awards season. This film, which chronicles the final 34 days of Theranos founder Elizabeth Holmes before her imprisonment and continues beyond, has achieved remarkable box office success and garnered widespread critical acclaim, provoking a reevaluation of how documentaries are perceived in major award categories. The film's compelling narrative and strong performances, particularly by Amanda Seyfried, are sparking debate and anticipation within the film industry regarding its potential to break traditional barriers at the Oscars and other prestigious awards.

Documentary's Oscar Ambitions and Eligibility Debates

The film "You Can See Everything," a creation of Nathan Fielder and Lance Oppenheim, debuted to an impressive $15 million in its opening weekend, a figure rarely achieved by non-fiction cinema. Critics have showered it with praise, reflected in its near-perfect scores on Metacritic and Rotten Tomatoes, and exceptionally high ratings on Letterboxd and IMDb. This critical and commercial triumph has positioned the documentary as a strong candidate not only for Best Documentary Feature but also for broader categories at the 99th Academy Awards.

A24 plans to campaign the film extensively, submitting it for Best Picture, Director (Fielder and Oppenheim), Production Design, Cinematography, Costume Design, Film Editing, Makeup and Hairstyling, Sound, and Original Score. A pivotal aspect of the film's awards strategy revolves around Amanda Seyfried, who is credited in the movie as Elizabeth Holmes and also appears as herself. Seyfried, who previously won an Emmy for her portrayal of Holmes in "The Dropout," is being championed for the Best Supporting Actress category. Her potential nomination would mark a unique achievement, as she would be recognized for embodying both her on-screen character and herself within the same film.

While Fielder might also be eligible for acting recognition, given his self-portrayal, the focus of the acting campaign remains firmly on Seyfried. The film also features Christopher Abbott as Billy Evans, Holmes's spouse, making him eligible for the supporting actor category.

The path for "You Can See Everything" through the awards circuit is complex due to varying eligibility rules across different organizations. The Golden Globes currently do not recognize documentaries, posing a significant hurdle for the film's aspirations in categories like Best Picture, Director, and acting. However, sources suggest that the Globes might consider an exception given the film's unique nature. The Critics Choice Awards, in contrast, offer a more straightforward path, with the film eligible across all categories, including acting. This makes it a crucial platform for the film to gain recognition before the Oscar nominations.

Other guilds present mixed prospects. The Screen Actors Guild (SAG) Awards, which typically honor narrative films, are currently reviewing the documentary's eligibility for its acting categories. The British Academy Film Awards (BAFTA) also pose a challenge, with indications that the film might struggle to secure nominations in top categories despite initial eligibility. The Writers Guild of America (WGA) Awards are out of reach, as the film lacks a credited screenplay, a common characteristic for documentaries, distinguishing it from past non-fiction winners like Michael Moore's "Bowling for Columbine."

However, the Directors Guild of America (DGA) offers a promising avenue, with Fielder and Oppenheim eligible for both the documentary prize and the DGA's top award for theatrically released feature films. This dual eligibility could see them competing against acclaimed narrative directors, further blurring the lines between documentary and traditional feature film recognition. Similarly, the American Cinema Editors (ACE) Eddies and the Producers Guild of America (PGA) also recognize the film's eligibility in both documentary and broader feature film categories.

The film's journey through awards season highlights a fascinating tension between established traditions and evolving cinematic forms. With its strong critical reception and box office success, "You Can See Everything" challenges conventional notions of what constitutes an Oscar-worthy film, potentially paving the way for documentaries to achieve unprecedented recognition in the most prestigious categories.

The remarkable journey of "You Can See Everything" through the labyrinthine world of film awards offers a compelling reflection on the evolving landscape of cinema. It challenges the traditional boundaries separating documentaries from narrative features, urging award-giving bodies to reconsider their rigid categories. This situation prompts us to question whether the criteria for artistic merit should be flexible enough to embrace innovative storytelling, regardless of its classification. Ultimately, the film's success and its struggle for recognition underscore the idea that exceptional artistry can transcend conventional definitions, potentially ushering in a new era where the best picture, regardless of genre, truly earns its place in cinematic history.