Why ‘You Can See Everything’ Can Win Best Picture at the Oscars

Why ‘You Can See Everything’ Can Win Best Picture at the Oscars hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 20, 2026 2:30pm PT Why ‘You Can See Everything’ Can Win Best Picture at the Oscars By Owen Gleiberman Plus Icon Owen Gleiberman Chief Film Critic @OwenGleiberman Latest ‘Capturing Bigfoot’ Review: An Astounding Documentary Uncovers the Truth 2 days ago The Hiring of Peter Rice at Netflix Could Set the Stage for a Corporate Culture Clash About the Future of Movies 4 days ago ‘Norm: The Tale of Norm Macdonald’ Review: Judd Apatow’s Juicy and Haunting Portrait of a Comedy Star as Troubled as He Was Hilarious 5 days ago See All Add us as a Google Preferred Source Comments The word disruptor is a vividly descriptive one, and it’s almost always applied to an individual. But it doesn’t have to be.

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Take the rule-busting, category-smashing, one-of-a-kind-because-you’ve-never-seen-anything-of-its-kind “ You Can See Everything ,” a movie that in one weekend has turned the movie landscape topsy-turvy. “You Can See Everything” is such an unprecedented cinematic wild card that as you watch it, the very question of what it is makes the movie itself a disruptor.

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It’s a documentary…made by a prankish cringe comedian…about a notorious white-collar criminal…that plays as a piece of hangout-movie vérité…until the actress who played the white-collar criminal in a TV series actually shows up…at which point the psychodramatic circus is just getting started. Related Stories Netflix Has Chased the Best Picture Oscar for Nearly a Decade.

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That made it the most successful opening for a non-music documentary since Michael Moore’s “Fahrenheit 9/11,” 22 years ago. Yet even those numbers don’t tell the story of how “You Can See Everything” has injected itself into the cultural bloodstream — and is reconfiguring the movie world.

People are rushing to see it almost as a kind of mission. Audiences are alive to it; the film is so full of revelation and new-paradigm entertainment value that people often say it exceeds their expectations.

This, in a word, is everything a great movie should be: an experience unlike one you’ve had before, one that lures and enthralls you, and that leaves you feeling different when it’s over. Popular on Variety The film’s box-office numbers are likely to shoot up in its second weekend, when it expands to a full national release.

And there’s every chance that the numbers could continue to go up for a week or two after that, the way they did with “Obsession.” The excitement that surrounds “You Can See Everything” rhymes with the out-of-the-box quality that drew people in hordes over the summer to see “Obsession” and “Backrooms.” This was a new kind of audience: a new demo, a new consciousness, a crystalization of the possibility that we might be on the cusp of a new “film generation.” That’s an old term (from the 1970s), one that desribed how the first generation to grow up with movies as their transcendent art form embraced them in a new way, like rock ‘n’ roll — not just as entertainment or even as art but as a fundamental expression of who they were . Watching “You Can See Everything,” people see themselves reflected in the post-ironic deadpan of Nathan Fielder , who is 42 and represents, from his television shows, a novel mode of fucking with people that’s intricate in its clevern

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