Rarely does a movie come along that is so well-suited to an era as Nathan Fielder and Lance Oppenheim’s You Can See Everything is to this one. Currently in prison on fraud charges, Theranos founder Elizabeth Holmes and her husband Billy Evans, at least as presented here, so perfectly encapsulate so many of our current societal woes that it’s almost hard to believe this isn’t fiction, a question the filmmakers only seem to encourage.

Thirty-four days before she was due to report for her sentence, Holmes and Evans agreed to let Fielder move into their rented seaside home and document their lives. The ostensible aim was to reveal Holmes’ honest nature—something she presents as so absolute as to make her seem even more suspicious—but they appear to have also assented to let Fielder ask them both challenging questions, which he wastes no time getting to.

There are some truly jaw dropping moments here, with Fielder’s innate curiosities and affinities towards psychology enabling him to make even seemingly mundane revelations elicit minor gasps and incredulous chuckles. Whatever they thought people would see in them, neither Holmes nor Evans comes across particularly well, with the former leaving the viewer wondering if she is either extremely naïve or cunningly manipulative and the latter oozing a distinctly modern aura of toxic narcissism.

For her part, Holmes maintains that she doesn’t believe she’s done anything wrong, with the closest either of them ever gets to understanding why anyone would think her guilty arriving during a memorable debate on semantics that culminates in the trio watching Abbott & Costello’s classic “Who’s on First?” routine. But whether she’s guilty or not isn’t really the point, rather, the filmmakers are more interested in asking us to question the very nature of the reality that’s being presented to us and whether we can ever have enough information to be in a position to judge another person’s intentions.

After Holmes’ incarceration begins, Fielder continues to follow the story, and we begin to see the ways that perceptions can be easily skewed on both the micro and macro levels. And lest we think ourselves immune to such manipulation and manipulators, through genuinely inventive choices he even calls into the question the reality of memory and whether anyone can ever be truly unbiased, himself included.

Every bit as thrilling to watch as it is to discuss after it ends, You Can See Everything redefines what a documentary can be and uses one of this century’s most public scandals to both capture something essential about the world around us and open our eyes to flaws in our own wiring. Across three hours this directing duo will make you think and feel about their subjects in ways you never expected, and isn’t that what we watch these kinds of movies for? ★★★★★

Rated R for language and some graphic nudity.