Sunday night, the 2026 fall festival season saw its biggest surprise (so far). Telluride Film Festival attendees were ushered into the Werner Herzog Theater for a mystery screening, free of cell phones or other ways to contact the outside world. Once they were seated, Festival Director Julie Huntsinger told ticket holders they were about to watch You Can See Everything, a top secret documentary about famed Theranos founder and felon Elizabeth Holmes, directed by Nathan Fielder and Lance Oppenheim. Vanity Fair’s John Ross and Rebecca Ford were there, and were “in shock,” John says. You can read Rebecca’s full report from the scene below.
If the name “Lance Oppenheim” seems familiar, it’s because one of the buzziest premieres at the Venice Film Festival was Primetime, his narrative-feature debut. That film is about the production of the reality television series To Catch a Predator, with Robert Pattinson—who is also having one hell of a year—playing Predator host Chris Hansen. Vanity Fair’s Chris Murphy was there for the film’s buzzy launch, as well as its glitzy after-party.
Pattinson has publicly said he hopes Hansen appreciates the movie, but it’s just as possible that he’ll drub the film’s authenticity—a not-uncommon reaction when your own life is dramatically portrayed. A prime example of this reality-to-Hollywood dissonance is the sudden wave of films about the art world, some of which are already drawing criticism for a lack of veracity. VF’s Nate Freeman talks to some of the scene’s biggest names, all to determine why movies so frequently get art so wrong. | 
