[There are no spoilers for You Can See Everything in this article.]
You Can See Everything, the documentary about Elizabeth Holmes in the final days before her prison sentence, is already one of the most important box-office stories of the year. The film, directed by Nathan Fielder and Lance Oppenheim, took in $15.6 million on fewer than a thousand screens, easily besting wide studio releases. And now, with an overwhelming critical consensus as one of the best films of the year also boosting it, You Can See Everything seems poised to become one of the biggest stories of the upcoming award season.
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The Further Mis-Adventures of Cliff Booth
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Teenage Sex and Death at Camp Miasma
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Spider-Man: Brand New Day
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Forgotten Island
DreamWorks
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I Love Boosters
Neon
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Woman Unknown
Woman Unknown / Denmark
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The Christophers
Neon
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Bitter Christmas
Warner Bros.
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Coward
Mubi
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Long Day’s Journey Into Night
Quiver
Long Day’s Journey into Night
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A Statement
Sony Classics
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Is God Is
Amazon MGM
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La Gradiva
1-2
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Madden
Amazon MGM
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The Dog Stars
20th Century
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Tuner
Black Bear
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Ebenezer
Paramount
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A Long Winter
MUBI
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Bunker
SPC; Searchlight
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Prima Facie
Sony
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The Weight
Vertical
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Misty Green
A24
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Your Mother
Amazon MGM
Your Mother Your Mother Your Mother
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Clarissa
Neon
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Tenzing
Apple
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The Mosquito Bowl
Netflix
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The Uprising
Focus
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Glenrothan
Lionsgate
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Her Private Hell
Neon
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Hope
Neon
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In the Hand of Dante
Netflix
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Late Fame
Magnolia
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Never After Dark
Magnolia
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The Only Living Pickpocket in New York
Sony Classics
The Only Living Pickpocket in New York
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A Talent for Murder
Bleecker Street
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The Unknown
Neon
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Ha-Chan
SPC
Ha-Chan, Shake Your Booty!
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Gentle Monster
Netflix
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Whalefall
20th Century
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Couture
Vertical
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The Wizard of the Kremlin
Vertical
The Wizard of the Kremlin
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The Liberation
Bleecker Street
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PARK CITY, UTAH – JANUARY 26: Stephanie Ahn attends the 29th Annual SAGindie Filmmakers Luncheon at Sundance at Cafe Terigo on January 26, 2026 in Park City, Utah. (Photo by Fred Hayes/Getty Images for SAGindie)
Fred Hayes/Getty Images
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Gail Daughtry
SPC
Gail Daughtry and the Celebrity Sex Pass
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The Get Out
Vertical
Gold Derby has confirmed that A24 plans to submit the film for several categories beyond Best Documentary Feature, including Best Picture, director, cinematography, editing, production design, makeup and hairstyling, sound, score, and, as we previously noted, a certain acting category.
But just how far could You Can See Everything go with the Academy? Does the film have a shot at awards outside of Best Documentary? The Oscars have a history — albeit a limited one — when it comes to recognizing documentary features outside of their specific category, so yes, it is possible.
The first documentary to ever win any Oscar won it outside of Best Documentary Feature. Twelve years before the award was even created, With Byrd at the South Pole, a doc following Richard E. Byrd to the southernmost point on the globe, won Best Cinematography at the third Academy Awards in 1930, marking the only nomination and win for a doc in the category.
Documentaries have also had some success Best Editing. Cutting room legend Thelma Schoonmaker earned her first-ever Oscar nomination for the Herculean task of wrangling (alongside five others, including Martin Scorsese) the mountain of footage that constituted Michael Wadleigh’s seminal concert doc Woodstock, which also earned a Best Sound nod.
The other documentary nomination for Best Editing brought with it a host of other controversies that completely shook up the Academy’s doc nominating process. Today, Steve James’s Hoop Dreams is considered one of the greatest films ever made — full stop — but in 1994, it didn’t even make onto the nomination shortlist for Best Documentary. The resulting uproar revealed some pretty shameful secrets about the doc branch’s nominating process, which at the time involved members shining a flashlight at the screen whenever they gave up on a film and turning the movie off entirely when a majority of lights were flashed.
Perhaps the most surprising documentary nomination in Oscar history came in 1949 when The Quiet One, a film about the rehabilitation of an emotionally disturbed boy, earned a Best Writing, Story and Screenplay nomination. Notably, novelist and Night of the Hunter screenwriter James Agee, who penned an audio commentary for the film, was not among the three nominees: Helen Levitt, Janice Loeb, and Sidney Meyers.
But by far the most nominations that documentaries have received outside of Best Documentary are in the music categories, Best Original Song and Best Score. Four docs have earned nominations for their score (including Let It Be, which won the Beatles an Oscar), but far more have made the nomination list for songs.
A total of 12 documentaries have earned nominations in Best Score, including two from this year alone — Nicholas Pike’s “Sweet Dreams of Joy” from Viva Verdi! and Diane Warren’s “Dear Me” from Diane Warren: Relentless. Only one documentary has ever won in the category, however, and that distinction belongs to An Inconvenient Truth and its track from Melissa Etheridge, “I Need to Wake Up.”
