IDFA Head on How ‘You Can See Everything’ Phenomenon Can Pump New Blood Into Theatrical Doc Releases: ‘What Else Would This Audience See?’

IDFA Head on How ‘You Can See Everything’ Phenomenon Can Pump New Blood Into Theatrical Doc Releases: ‘What Else Would This Audience See?’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 12, 2026 4:02am PT IDFA Head on How ‘You Can See Everything’ Phenomenon Can Pump New Blood Into Theatrical Doc Releases: ‘What Else Would This Audience See?’ IDFA artistic director Isabel Arrate Fernandez believes Lance Oppenheim and Nathan Fielder’s buzzy portrayal of Elizabeth Holmes ‘instigates a different way of looking at what documentary can do’ By Rafa Sales Ross Plus Icon Rafa Sales Ross Guest Contributor Latest ‘Romería’ Director Carla Simón Would ‘Love’ to Collaborate With Rosalía Following Latin Grammy Nomination for ‘Flamenco’ 2 days ago ‘Conclave’ Director Edward Berger Teases Upcoming Brad Pitt A24 Film ‘The Riders’: It’s a ‘European Odyssey’ 1 week ago Evolution Mallorca Prizes: ‘Ink,’ ‘Fatherland’ and ‘Club Kid’ Win Big at a Banner 15th Edition 1 week ago See All Add us as a Google Preferred Source Comments It is only fitting that this year’s International Documentary Film Festival Amsterdam kicks off on a Friday the 13th. The date, long associated with ideas of disruption, feels an apt omen for the current moment in documentary filmmaking.

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This year’s fall festival season was largely dominated by conversations on docs like Lance Oppenheim and Nathan Fielder’s “ You Can See Everything ,” Alex Gibney’s “Musk,” and Yuval Abraham and Rachel Szor’s “NAZA,” the first two now landing in Amsterdam to invite audiences and industry members to discuss what they may represent for the future of documentary filmmaking. Related Stories From ‘Dil Se’ to ‘Ramayana’: How Indian Cinema Shattered the U.K., Ireland Box Office Glass Ceiling Rajinikanth’s ‘Jailer 2’ Sets Global Streaming Premiere Date on Prime Video IDFA artistic director Isabel Arrate Fernandez says that “what we are seeing happen at the box office in the U.S.

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is a buzz.” Oppenheim and Fielder’s documentary about Theranos founder Elizabeth Holmes has recently become A24’s third-biggest domestic release after surpassing $80 million at the box office. “What I take from that is, I hope, that it instigates a different way of looking at what documentary can do, what documentary in the cinema can do, that collective experience in the cinema.” “These films break every pattern that there has been, every framework people were holding onto,” she goes on.

“For independent documentary to thrive and continue developing, it’s necessary to think outside of that fixed framework and a formatted way of releasing a documentary.” Arrate Fernandez also notes that despite “You Can See Everything” sitting at just under three hours and “Musk” surpassing the four-hour mark, they are drawing audiences into cinemas. “There is also a new group of audiences instigated to go to the cinema and watch [‘You Can See Everything’] because of Nathan Fielder.

That’s already a new opening that is very interesting there. What else would this audience see?” The artistic director also recognizes the docs on two incendiary American figures—Holmes and trillionaire Elon Musk—are “exceptions.” “These are U.S.

productions; we are talking different budgets, different budgets for publicity and marketing behind it. Still, it does show that documentaries in the cinema can thrive.” It will be particularly interesting to see how these American productions will employ IDFA for their already brewing awards campaign.

The festival has become the key European stop for documentaries vying for Oscar noms, with key studios, streamers and broadcasters throwing receptions for their top titles at the festival. With a growing conversa

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