‘You Can See Everything’ Sparks Frenzy in Europe as Screenings Sell Out and Anticipation Soars: ‘People Are Just Desperate to See It’

“You Can See Everything,” Nathan Fielder and Lance Oppenheim’s smash-hit documentary about disgraced Theranos founder Elizabeth Holmes, has yet to open in major international territories. But the crescendoing anticipation for a nearly three-hour film that came out of nowhere suggests that it could also rock numerous other box offices in the coming weeks. In the U.K., where A24 is self-releasing the film, tickets began selling out a month before its opening on Nov. 20, prompting chains such as Picturehouse and Cineworld to add extra screenings. It’s a similar story in France, where distributor Metropolitan Filmexport has seen advance screenings sell out far ahead of its opening there on Dec. 30. “I’ve released hundreds of films and I’ve not known anything like it in terms of buzz — people are just desperate to see it,” says a distribution exec in the U.K. “I think it’s going to explode on Nov. 20. It’s going to be one of, if not the biggest documentary of all time, just based on pre-bookings.” Excluding concert films, 2004’s “Fahrenheit 9/11” is still the most successful documentary in the U.K. (it’s currently the most successful globally), with a box office of £6.55 million ($8.8 million), which, adjusted for inflation, is around $16.6 million today. It’s a figure many expect “You Can See Everything” to surpass. A24 adopted a staggered release strategy in the U.S., more than tripling the amount of screens in its second weekend. But Variety hears that, to cope with the pent-up demand, it’ll likely bolt out of the British cinematic gates wide, going straight into around 500 cinemas. In France, Victor Hadida, president of Metropolitan Filmexport, tells Variety that the company organized a nationwide series of sneak previews on Dec. 1 across roughly 100 theaters. Tickets sold out within hours. “It’s crazy because we put tickets on sale on Saturday at 9 a.m., and some theaters were already sold out by noon,” says Hadida, whose slate also includes “The Debut.” “The demand is enormous and it hasn’t stopped. You can see it on social media, and you can see people going to theaters asking about the film.” Unlike the U.K., Metropolitan Filmexport — which bought “You Can See Everything” from A24 at Toronto, shortly after it’s surprise Telluride premiere— will be following a similar progressive rollout to the U.S., opening in approximately 150 to 200 theaters before expanding based on demand. Hadida says the nearly three-hour running time was a key factor in scheduling the release during the Christmas holidays, when moviegoers have more time to spare. Metropolitan is betting that the Dec. 1 previews will help build word of mouth — something that has been absolutely crucial in the film’s success so far — ahead of the official opening. But by the time it comes out in France on Dec. 30, much of the rest of the world will already have had a chance to see it. After acquiring large swathes of Europe, Asia, the Middle East and South America for the film before the opening U.S. weekend, Sony has now revealed its release strategy for all of its 29 territories, with opening dates running from Nov. 19 through Dec. 9. Thanks to cultural and language crossovers, not to mention a strong eye for documentary films, especially theatrically, there are high expectations for Scandinavia. Sony has the entire region, and opens across Denmark, Finland, Norway and Sweden in the space of 48 hours from Nov. 19. There are similar hopes for another major market, Germany (Dec. 3). Highlighting anticipation there, a recent CNN article told the story of a German fan who crossed the border to get to a preview screening in Poland (where it opens Nov. 6). But with other territories such as India, Mexico, South Korea and Brazil on the rollout list and a film that continues to defy the norms or standard expectations, nothing should be ruled out. As one exec notes: “You can’t sell any market short when something becomes cultural like this.” In terms of actual promotional launch plans for “You Can See Everything,” talks are underway to fly Fielder and Oppenheim over to some of the more major premieres. However, as one publicity insider notes, since the film continues to enjoy a wildly unpredictable journey on home soil, plans are likely “very TBC.” With the U.K. likely the biggest overseas market, London would seem a highly probable destination for the pair (Oppenheim was in town in October for the London Film Festival screening of “Primetime”). They’re both due to attend two BAFTA screenings in the capital next week, so assumingly will be stay in town for the premiere, although exact details of that are yet to be revealed. Hadida adds that Metropolitan is hoping to bring them to Paris in December as well. But given the mystery around the film — not to mention some major spoilers to protect — there’s a limit to what anyone would want the filmmakers to actually talk about. Variety hears that the standard premiere media line would likely be scrapped, while any Q&As would likely be held just for awards voters (Fielder and Oppenheim will be taking part in Q&As at the BAFTA screenings in London) “It’s so different to a lot of other PR plans and strategy, because you just don’t want to say anything,” says the publicity insider. “That’s why it’s all so minimal — you just want the film to speak for itself.” Hadida in France also acknowledges that preserving the mystery — which has been a major element of A24’s marketing strategy — is key. “Part of their approach is also not to reveal too much about the film, because what’s important about this experience is that you discover what the film is about at the same time as the filmmakers,” he says. However, among the more eye-opening reveals in “You Can See Everything,” one that saw the film land an unexpected R-rating for “graphic nudity,” won’t be available to everyone. Due to censorship laws in Middle East, Variety hears that the scene in question — not critical but the source of much chatter — will have to be cut for it to be released.