当他掌管苹果公司时，史蒂夫·乔布斯因制造“现实扭曲场”而臭名昭著。这是他的员工们用来形容乔布斯的魅力与自大以及苛刻管理风格的玩笑说法——这种风格会让人接受看似不可能的截止日期，或承诺他们能够解决无法解决的问题。同样的现象的一个故障版本曾经围绕着伊丽莎白·霍姆斯，这位因失败的医疗初创公司Theranos而声名狼藉的创始人。
When he was in charge of Apple, Steve Jobs was notorious for projecting a “reality distortion field.”That was the jokey way his employees described Jobs’s mix of charisma and bravado and his demanding management style—which would lead people to accept seemingly impossible deadlines, or to promise that they could fix unfixable problems. A malfunctioning version of the same phenomenon once surrounded Elizabeth Holmes, the disgraced founder of the failed medical start-up Theranos.
她崇拜乔布斯，模仿他的风格和令人不安的自信，即使在主持一个正在崩溃的企业期间。她承诺的设备只需一滴血就能以低成本进行快速医学检测，至多只是幻想；曾一度估值达90亿美元的Theranos最终化为乌有。2022年，霍姆斯因欺骗投资者被判处11年监禁。
She worshipped Jobs, imitating his style and unnerving confidence, even while presiding over an imploding enterprise. Her promises of a device that could affordably perform rapid medical tests with only a drop of blood were, at best, fantastical; once valued at $9 billion, Theranos collapsed into nothing. In 2022, Holmes was sentenced to 11 years in prison for defrauding her investors.
在新纪录片《你可以看到一切》中，喜剧演员兼电视作者内森·菲尔德走进了霍姆斯的“现实扭曲场”。菲尔德陪同他的联合导演兰斯·奥本海姆和一个小型摄制组，基本上在霍姆斯联邦监狱报到前的34天里住进了她的住所。该团队获得了对她、她的两个小孩以及她的伴侣——自称对霍姆斯痴迷忠诚的企业家比利·埃文斯——的相对不受限制的访问。
In the new documentary You Can See Everything, the comedian and television auteur Nathan Fielder steps into Holmes’s reality-distortion field. Fielder, accompanied by his co-director, Lance Oppenheim, and a small camera crew, essentially moved into Holmes’s abode for the 34 days before she reported to federal prison. The team received fairly unfettered access to her, her two small children, and her partner, the entrepreneur Billy Evans, who professes obsessional devotion to Holmes.
菲尔德在住进位于加州德尔马的家庭租赁住所期间原本期望发现什么尚不清楚，但他最终陷入了一场奇特且令人不安的猫鼠游戏：他试图弄清楚霍姆斯究竟是一个大师级操纵者，还是如此深信自己的天才以至于无法区分虚构与事实的人。
What Fielder was expecting to find while staying at the family’s Del Mar, California, rental is unclear, but he ends up in an odd and unsettling game of cat and mouse: He’s trying to suss out whether Holmes is a master manipulator or someone so deeply convinced of her own genius that she can’t distinguish fiction from fact.
捕捉这一经历的影片是人类感知的奥德赛。费尔德知道，无论他与霍姆斯相处多么亲密，只要摄像头对准她，他和观众就会被一个问题吞噬：她是否又在表演。影片历时近三小时，跨越霍姆斯2023年5月入狱前一个月以及随后的几年；整个过程中，费尔德反复审视他与霍姆斯以及她周围人的互动，寻找真实的蛛丝马迹。最终呈现的是一部令人着迷的肖像，描绘了大多数观众都能理解的一种现象——一种深切的共情欲望，即便我们对正在发生的事情感到恐怖，或怀疑自己正被欺骗。
The film capturing that experience is an odyssey of human perception. Fielder knows that no matter how intimate his time with Holmes is, the minute the camera is trained on her, both he and the audience will be consumed by the question of whether she’s giving yet another performance. The movie unfolds and evolves over nearly three hours, spanning both the month ahead of Holmes’s May 2023 incarceration and the years following; throughout, Fielder pores over his interactions with not just Holmes but also the people around her, sifting for kernels of authenticity. What emerges is a transfixing portrait of a phenomenon most viewers will understand—a deep desire to empathize, even as we are horrified by what’s occurring or suspect we’re being lied to.
霍姆斯会对最后这一点持不同意见。起初，她直率地告诉费尔德，她从未说过谎，这句话令人困惑，以至于让他一贯的死板表情出现裂痕。看着他努力理解她这句话的意思，我想到了乔布斯那种奇特的人格魅力。霍姆斯拥有如同茶碟般大小、引人注目的蓝色眼睛，她反复用不眨眼的凝视和薄雾般的笑容迎接费尔德眯起的目光。霍姆斯或许确实在误导她的采访者，但她表现出令人不安的确信——她相信自己在说真话；她或许正在欺骗自己，同时也欺骗着她身边的人。
Holmes would disagree about that last part. Early on, she plainly states to Fielder that she has never told a lie, a statement so bewildering that it cracks his reliably deadpan expression. Watching him work to make sense of what she could mean by that, I thought of Jobs’s strange force of personality. Holmes has saucer-shaped, striking blue eyes, and she repeatedly meets Fielder’s squinty gaze with an unblinking stare and gauzy smile. Holmes may indeed be flatly misleading her interviewer, but she comes off as unnervingly sure that she’s being honest; she’s perhaps deceiving herself alongside the people in her orbit.
埃文斯是她全新形象的重要组成部分；她的形象已经从首席执行官时期那种精英商人的形象，转变为一个充满爱心的母亲和伴侣。霍姆斯经常让孩子依偎在她身边，她对这位崇拜她的伴侣显得非常依恋。然而，在某些时候，埃文斯会展现出控制欲强的态度——比如因为她搅拌鸡蛋的速度不够快，埃文斯就会直接从她手中拿走碗。
Evans is a vital part of her new facade, which has morphed from the elite-businesswoman persona of her CEO days to that of a loving mother and partner. Holmes often has a child draped over her, and she seems profoundly attached to her worshipful partner. Yet at other times, Evans gives off a controlling air. He plucks a bowl from her because she’s not stirring eggs quickly enough.
当菲尔德的问题触及某些让她感到不适的话题时，埃文斯会立刻出现，把手放在霍姆斯的肩上，试图轻轻终止谈话。菲尔德与受访者之间的这种令人窒息的亲密关系在镜头中得到了直观的体现：奥本海姆使用变焦镜头拍摄他们，长时间地聚焦在他们的脸上，捕捉他们因尴尬、困惑或勉强微笑而产生的各种表情。与他的搭档一样，菲尔德试图通过尽可能接近受访者来揭示真相；但考虑到霍姆斯的过去，这样的努力似乎毫无意义。
When Fielder’s questions probe too close to an uncomfortable topic, Evans will show up, put his hands on Holmes’s shoulders, and softly try to shut down the conversation. The claustrophobic proximity between Fielder and his subjects comes across visually: Oppenheim shoots them all with zoom lenses, holding on their faces for a discomfitingly long time as they wince, frown, and grin. Like his co-director, he’s searching for the truth by getting as physically close as he can. Given Holmes’s past, however, the task of uncovering anything feels impossible.
菲尔德显然对重新讨论霍姆斯案件的细节毫无兴趣；他坚信她没有做错任何事，也知道自己无法改变她的想法。相反，他更关注的是她看待世界的方式，以及埃文斯是如何助长她那种不切实际的自我形象的。此外，两人似乎还在共同推进Theranos项目的新一轮发展，他们兴奋地与投资者和专利律师通电话。当霍姆斯不得不面对残酷的现实（她很快就要离开自己的孩子）时，她的痛苦显得十分真实；但这些痛苦的时刻很快就被霍姆斯和埃文斯对美好未来的憧憬所掩盖了。
Fielder is obviously uninterested in relitigating the details of Holmes’s case; she appears firmly assured that she did nothing wrong, and he knows there’s nothing he can do to tell her otherwise. Instead, he pokes at how she takes in the world, and how Evans is helping to feed her surreal self-image. It also becomes apparent that the pair are working on a new version of Theranos, chatting to investors and patent lawyers on the phone with abandon. When the harsh reality facing her—that she’ll soon have to leave her children behind—peeks through, her devastation seems genuine. But those moments then flit by as Holmes and Evans try to ponder a brighter future.
电影的前半部分由引人入胜的“苍蝇视角”镜头组成。后半部分，费尔德和奥本海姆一直恳请评论家不要剧透（我也认为保持原始观看体验更有趣），确立了《你可以看到一切》作为年度最佳影片之一的地位。该部分聚焦于费尔德对与霍姆斯短暂相处时间的执着，以及埃文斯对此产生的不良影响：他引入其他视角进行咨询，重新演绎场景以更好地理解它们（这是他惯常做的事情，尤其是在他引人入胜的HBO节目《排练》中），最重要的是，他正面对自己在讲述霍姆斯人生这一章节中的角色。
The first half of the movie consists of captivating fly-on-the-wall footage. The second half, which Fielder and Oppenheim have begged critics not to spoil (and I do think it’s fun to experience it cold), establishes You Can See Everything as one of the best films of the year. That portion finds Fielder fixating on his brief time with Holmes and the untoward influence Evans had over it: He brings in other perspectives to consult, re-creates scenes to better understand them (something he’s wont to do, especially on his fascinating HBO show, The Rehearsal), and, most important, reckons with his role in telling this chapter of Holmes’s life story.
费尔德足够聪明，意识到他的名人身份进一步戳破了我们如何看待自己和他人的泡沫。但他在努力保持客观的同时，与霍姆斯迅速建立了一种情感上的亲密感。《你可以看到一切》是一个大胆的标题，是霍姆斯发出的邀请，而她不太可能真的付诸行动。费尔德能否看到她脑中正在发生的一切？除此之外，他能否成为一个有效的观众代理人，让观众看到他所看到的？
Fielder is smart enough to know that his celebrity presence further pierces the bubble around how we perceive ourselves and one another. But he quickly developed a sort of emotional intimacy with Holmes, even as he sought to remain objective. You Can See Everything is a bold title, an invitation from Holmes that she is unlikely to follow through on. Can Fielder see everything that’s going on in her head? Beyond that, can he be an effective audience surrogate so viewers can see what he sees?
这部纪录片的真正问题不仅在于霍姆斯——她已经成为社会关注的焦点超过十年——是否正在上演另一场表演，还在于我们观众究竟是否仅仅渴望从她那里得到这一点。
The true question of this documentary isn’t just whether Holmes—who has been a figure of societal fascination for more than a decade—is putting on another performance, but also whether that’s all we, the viewers, crave from Holmes anyway.