“You Can See Everything,” an intimate look at Theranos founder Elizabeth Holmes, has earned nearly $80 million at the domestic box office, becoming A24‘s third-highest-grossing release in North America. It bypasses “Everything Everywhere All at Once” and its $77 million haul to take its spot on the indie studio’s chart, and that film won the Oscar for Best Picture.
With $79.8 million stateside, “You Can See Everything” sits behind the summer blockbuster “Backrooms” ($197 million) and 2025’s “Marty Supreme” ($96 million) on the list of A24 releases. Other A24 films made more globally, with “Backrooms” earning more than $400 million, “Marty Supreme” grossing $192.4 million, and “Everything Everywhere All at Once” netting $147.9 million.
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However, “You Can See Everything” has yet to be released in most international markets. It’s unclear if Holmes’ fraud will resonate with moviegoers so far from Silicon Valley. It doesn’t matter if it doesn’t connect, because with a budget of $7 million, “You Can See Everything” is already wildly profitable. Its success means that Nathan Fielder and Lance Oppenheim, the directing duo behind the doc, are now in high demand.
“You Can See Everything” also jumped ahead of “March of the Penguins” ($77 million) on the list of highest-grossing documentaries in North America. Variety reports that makes it the second highest-grossing doc behind Michael Moore’s “Fahrenheit 9/11,” which earned $119 million domestically. That doesn’t account for music documentaries like “Taylor Swift: The Eras Tour” ($267.1 million) and “Michael Jackson’s This is It” ($268 million), which were far more popular.
A24 is on a hot streak. In addition to “Backrooms,” the indie studio has released hits like “The Drama” and “Primetime.” Its latest film, “Club Kid,” grossed an impressive $390,583 this weekend when it opened on six screens in New York and Los Angeles. That’s a per-screen average of $65,097. A24 acquired the drama about a hard-living gay man and his son out of the Cannes Film Festival, where it debuted to raves. The studio hopes to position the film and its writer, director, and star Jordan Firstman in the Oscar race.