The Sound of the Abyss: Ari Balouzian Scores Nathan Fielder and Lance Oppenheim’s ‘You Can See Everything’

In the landscape of modern documentary filmmaking, few subjects have captured the public imagination—and the public’s ire—quite like Elizabeth Holmes. As the disgraced founder of Theranos continues to occupy a space between reality and cautionary tale, the announcement of a new, deeply invasive documentary project, You Can See Everything, has sent shockwaves through the industry. Directed by the singular duo of Nathan Fielder and Lance Oppenheim, the film promises a radical departure from standard true-crime fare. Adding to the weight of this highly anticipated project is the announcement that composer Ari Balouzian has provided the original score, crafting a sonic landscape for what is being described as a "mind-bending three-year journey into the abyss."

Main Facts: A Convergence of Visionaries

You Can See Everything is not merely a chronicle of the Theranos scandal; it is a document of the immediate aftermath. The premise is stark: thirty-four days before Elizabeth Holmes was to report to federal prison, she invited a film crew—led by the master of meta-reality, Nathan Fielder, and documentary auteur Lance Oppenheim—into her life.

The result is a project that defies traditional categorization. The score, composed by the prolific Ari Balouzian, is central to the film’s atmosphere. Balouzian, known for his work on Atropia, Monsters of God, and The Giant, brings a signature aesthetic of eerie, atmospheric tension that is expected to underscore the psychological volatility of the film.

The project is backed by a powerhouse team of producers, including Fielder, Oppenheim, Tatiana Bears, Maggie Ambrose, and Jack Davis. The film is set to receive a significant theatrical release this October courtesy of A24, following its high-profile premiere at the 2026 Telluride Film Festival.

Chronology: From Silicon Valley to the Abyss

To understand the gravity of You Can See Everything, one must look at the timeline of the project’s genesis. The documentary began production in the frantic weeks leading up to Holmes’s incarceration.

• Pre-Incarceration (The 34-Day Window): The film crew embedded themselves in Holmes’s final month of freedom. This period serves as the "anchor" for the film, providing a rare, unfiltered look at a woman waiting for the hammer of justice to fall.
• The Three-Year Journey: While the core of the film focuses on those final days, the production expanded into a three-year odyssey. The filmmakers utilized this time to contextualize Holmes’s behavior, interviewing associates and exploring the philosophical implications of her fall from grace.
• The 2026 Festival Circuit: The film makes its debut at the Telluride Film Festival, signaling a major awards-season play by A24.
• The October Release: Audiences will have access to the film in theaters across the country this coming October, positioning it as one of the most anticipated documentary releases of the year.

Supporting Data: The Balouzian-Oppenheim Synergy

The selection of Ari Balouzian as the composer is not a matter of chance, but the culmination of a deep, ongoing creative partnership. Balouzian has become the sonic architect of Lance Oppenheim’s world. Their collaboration history includes:

• Documentary Features: Some Kind of Heaven (2020) and Spermworld (2024).
• Television: The critically acclaimed series Ren Faire (2024).
• Narrative Fiction: Primetime (2026), which recently debuted at the Venice Film Festival and is slated for a September 25 theatrical release.

This history suggests that Balouzian understands how to balance the absurd with the tragic. In his previous work with Oppenheim, he has demonstrated an uncanny ability to turn "real life" into something that feels mythic and, at times, surreal. For You Can See Everything, the stakes are higher. The music must navigate the skepticism of the film crew while maintaining the "enigmatic" aura of the subject.

Official Responses and Creative Intent

The involvement of Nathan Fielder—known for his high-concept, uncomfortable, and deeply analytical approach to human behavior in shows like The Rehearsal and The Curse—suggests that You Can See Everything will be far from a straightforward interview documentary.

While official statements from the production have been sparse, the early marketing materials suggest a tone of radical transparency mixed with psychological horror. A24’s involvement further cements the project’s status as a prestige event. By choosing to release the film in the heart of autumn, the studio is clearly positioning it as a centerpiece of the 2026 documentary conversation.

Regarding the score, early buzz from the Telluride screening indicates that Balouzian has moved away from traditional melodic cues in favor of dissonant, ambient textures that mirror the isolation of the film’s subject. The score is being described as an essential character in the film, acting as the bridge between the audience’s cynicism and the "mind-bending" reality of Holmes’s final days of freedom.

Implications: The Ethics of the "Documentary Lens"

The existence of You Can See Everything raises profound questions about the nature of documentary filmmaking in the age of the celebrity felon. By allowing Holmes to dictate a portion of the narrative during her final days of freedom, Fielder and Oppenheim are engaging in a risky experiment. Are they exposing the truth, or are they participating in a curated performance?

The "Fielder Effect"

Nathan Fielder’s presence implies a layer of artifice. If the film follows the trajectory of his previous work, the audience will likely be forced to question the authenticity of the documentary process itself. The "skeptical film crew" mentioned in the project description is a deliberate narrative choice; it establishes a barrier between the filmmakers and the subject, yet acknowledges that the camera’s presence is, in itself, a distortion of reality.

The Role of Music in Psychological Portrayal

Ari Balouzian’s score serves as the emotional arbiter. In a film where the subject may be performing for the cameras, the music provides the "truth" of the situation. If the visuals show a calm, collected Holmes, a discordant, frantic score from Balouzian would tell the audience what is happening beneath the surface. This interplay between image and sound is what will likely elevate You Can See Everything from a standard biography to a psychological thriller.

Cultural Impact and Legacy

Elizabeth Holmes has become a modern symbol of the "fake it ’til you make it" culture that defined Silicon Valley in the 2010s. By centering the film on her final days before prison, the filmmakers are looking at the end of an era. The success of this documentary—and the critical reception of Balouzian’s score—will likely influence how future filmmakers approach subjects who have already been tried and convicted by the public.

Conclusion: A New Standard for Documentary Soundscapes

As the October release date approaches, the excitement surrounding You Can See Everything continues to build. The combination of Nathan Fielder’s cerebral approach, Lance Oppenheim’s eye for the eccentric, and Ari Balouzian’s haunting musical sensibilities creates a perfect storm of talent.

Balouzian’s trajectory—from his work on the Primetime feature, which is currently making waves in Venice, to this high-stakes project—solidifies his place as one of the most innovative composers working in contemporary documentary film. As audiences prepare to dive into the "abyss" that is the life of Elizabeth Holmes, they can expect a sonic experience that is as complex, unsettling, and meticulously crafted as the reality the film attempts to capture.

In a cinematic landscape often crowded with rehashed narratives, You Can See Everything stands poised to challenge our perceptions of truth, justice, and the very nature of the documentary form. Whether the audience leaves the theater with more empathy for the subject or more contempt, one thing is certain: they will not be able to look away.