The documentary *You Can See Everything*, directed by Lance Oppenheim and Nathan Fielder, explores the final 34 days before Theranos founder Elizabeth Holmes begins her prison sentence. Distributed by A24, the film has seen remarkable commercial success with a $15 million opening from 855 theaters, ranking second domestically. Garnering critical acclaim, it has sparked discussions about a potential Best Picture nomination at the upcoming Oscars, an exceptional feat for documentaries.

A24 is actively campaigning for *You Can See Everything* in nine Oscar categories beyond Best Documentary Feature, including Best Picture. Despite strong audience receptions and enthusiastic screenings, documentaries historically face significant obstacles when aiming for Best Picture, primarily due to the Academy’s longstanding preference to separate nonfiction from narrative films. Even successful docs like Michael Moore’s *Fahrenheit 9/11* and *Hoop Dreams* failed to secure Best Picture nominations despite critical and financial success, underscoring the rarity of such recognition.

One substantial hurdle is that documentaries typically don’t qualify for major precursor awards like the Golden Globes or Actor Awards, which highlight performances in scripted features and are crucial markers for Best Picture contenders. *You Can See Everything* contains a credited role by Amanda Seyfried, raising questions about potential eligibility expansion by these organizations. If changes occur, it could boost the documentary’s visibility ahead of Oscar voting, influencing voters outside the traditional documentary branch to consider it in broader categories.

The unique blend of documentary footage and reenactment in *You Can See Everything* challenges conventional genre boundaries by interrogating the nature of truth and authenticity. This innovation could position the film as a cultural phenomenon that stretches how voters perceive nonfiction storytelling. While winning a Best Picture nomination remains an uphill battle given historical structural barriers, the film’s unconventional approach may finally open doors for documentaries to compete in the Academy’s top category.