MANOHLA DARGIS2026年10月19日内森·菲尔德（左）在《你能看到一切》中采访伊丽莎白·霍姆斯。 A24The nominal subject of the trippy “You Can See Everything” is Elizabeth Holmes, the celebrated entrepreneur turned celebrity jailbird. As a portrait, the movie is intimate and analytic, informative and incomplete. It’s also off-the-charts bonkers, which isn’t surprising given the participants. Directed by the comic Nathan Fielder and the filmmaker Lance Oppenheim, the movie is, among other things, a wily, disturbing, self-aware exploration of the relationship between documentarians and their subjects. It’s often funny, even if the questions that it raises about truth, reality and knowledge can make it feel like a tragedy — few movies speak as uncannily to the pathos and destabilizing confusions of the present moment.这部让人心神恍惚的《你能看到一切》名义上的主角是伊丽莎白·霍姆斯——曾备受赞誉的企业家，后来成了著名的阶下囚。作为一幅肖像，这部电影既私密又具分析性，既详实又不完整。同时它还离谱得没边，考虑到都是些什么人在参与其中，这并不意外。可以从多个角度去看待这部由喜剧演员内森·菲尔德和电影制作人兰斯·奥本海姆执导的影片，例如将其看做一场狡猾、令人不安、有自我意识的探索，检视纪录片工作者与其拍摄对象之间的关系。它常常有趣，即使它提出的关于真相、现实和知识的问题可能给人一种悲剧的感觉——很少有电影能如此诡异地捕捉当下的悲情与令人失稳的困惑。At this point, it’s a tossup whether Holmes is better known for her pop-cultural profile or her real-world exploits or if Fielder, the creator of absurdist comedy TV shows like “Nathan for You,” is now the bigger draw. Her fame was relatively brief but sensational. In 2014, Forbes deemed Holmes, the founder of a blood-testing start-up named Theranos, the youngest self-made female billionaire. She claimed, among other things, that her technology would revolutionize health care, which proved untrue. By 2022, Holmes had been found guilty of four charges of fraud for deceiving investors, a turn of events that seemed to baffle even the presiding judge. “What was it that caused Ms. Holmes, regrettably, to make those decisions that she did,” Judge Edward J. Davila asked, before sentencing her to 11 years in prison.事到如今很难说，究竟是霍尔姆斯的流行文化名气更响、还是以现实事迹为人所知，抑或菲尔德——荒诞喜剧电视节目《救援高手》的创作者——才是影片更吸引人的因素。她的名气相对短暂，却足够轰动。2014年，《福布斯》将霍姆斯——血液检测初创公司Theranos的创始人——认定为最年轻的白手起家女性亿万富翁。她声称自己的技术将彻底改变医疗保健，后来证明并非如此。到2022年，霍姆斯因欺骗投资者被判四项欺诈罪名成立，这一转折似乎连主审法官都感到困惑。“究竟是什么，让霍姆斯女士遗憾地做出了她所做的那些决定？”法官爱德华·J·达维拉在判处她11年监禁前问道。That question hovers over the movie, and is as much a head-scratcher as how Fielder and Oppenheim came to make it. At one point there’s an approving reference to Fielder being someone who looks “at things differently.” It’s a rich line for those familiar with his work; it’s obvious that Holmes and her life partner, Billy Evans, were not. It’s also obvious that they were out to shift public perceptions about her or, at least, the ostensible narrative, and that the filmmakers were aware of the role they were being solicited to play. It’s not for nothing that the documentary opens on a tight shot of Evans’s face. “Nobody knows who she is,” Evans says to someone on the phone, shortly before dropping the words “radical transparency.”这个问题笼罩着整部影片，其令人费解的程度不亚于菲尔德和奥本海姆究竟如何拍成了它。片中有个地方用赞许的语调说，菲尔德是一个“以不同方式看事物”的人。对熟悉他作品的人来说，这句话意味深长；霍姆斯和她的生活伴侣比利·埃文斯显然不熟悉。同样明显的是，他们意在扭转公众对她的看法，至少是表面叙事，而电影制作者也清楚自己受邀扮演的是什么角色。纪录片以埃文斯面部的特写开场并非没偶然。“没人知道她是谁，”埃文斯在电话里对某人说，没过多久便抛出了“彻底的透明度”这个词。It’s instructive that Holmes isn’t the first person you see in the movie given how she appears in the movie. She was the most famous woman tech entrepreneur to emerge from Silicon Valley, which helped elevate her profile and added frisson of her fall. Her signature look was striking, including long hair that always seemed a smidge messy, as if she were just too busy innovating to comb it. She didn’t seem to blink, which emphasized the whites of her eyes and presumably held others rapt. It’s a neat movie actor trick for creating dominance, which might have been useful in tech-bro land. She blinks in “You Can See Everything” and her distinctive low-pitched voice also seems more natural; it’s about the only thing that does.考虑到霍姆斯在片中的呈现方式，她并非观众在电影里看到的第一个人，这一点本身就耐人寻味。她是硅谷走出的最著名的女性科技企业家，这既抬升了她的知名度，也为她的坠落平添了一层颤栗。她的标志性形象极为醒目：长发似乎总有些凌乱，仿佛她忙于创新而无暇梳头；她似乎不眨眼，这让她的眼白显得格外突出，想必也让旁人凝神屏息。这是一个制造支配感的巧妙电影演员技巧，在科技兄弟的地盘上也许很管用。在《你能看到一切》里，她眨眼了，她标志性的低沉嗓音也显得更自然；这几乎是片中唯一自然的东西。Shot over several years, the documentary opens in 2023, 34 days before Holmes entered prison. Throughout it, the filmmakers mix original and extant material, and embrace different documentary approaches (participatory, ethnographic and so on). For the most part, though, “You Can See Everything” — the title refers to a text Holmes sent Fielder — unfolds as a series of intense conversations with Fielder serving as the on-camera interlocutor. Many of these take place in Holmes and Evans’s beachfront place in Del Mar, Calif., where Fielder prods and pushes them in the dining room, on the sofa, wherever, sometimes with the couple’s two young children and her parents in attendance. A number of encounters are shot in such extreme, dermatologic close-up that you become intimately familiar with Fielder’s zits.影片拍摄历时数年，以2023年开篇，当时距离霍姆斯入狱还有34天。整部纪录片中，制作者混合使用原创与既有素材，并采纳了不同的纪录片路径（参与式、民族志式等）。不过大体而言，《你能看到一切》——片名取自霍姆斯发给菲尔德的一条短信——以一系列密集对话展开，菲尔德本人出镜参与对话。许多对话发生在霍姆斯和埃文斯位于加州德尔马的海滨住处，菲尔德在餐厅、沙发等等地方随时发问，有时他们的两个年幼孩子和她的父母也在场。若干场会面用了极端的、皮肤科检查般的大特写，以至于你对菲尔德脸上的痘痘了若指掌。Every so often, other members of the small film crew show up on camera, too. These onscreen appearances are reminders of the inherently constructed aspect of the movie and, by extension, the documentary genre, and they dovetail with a movie’s preoccupation with questions of authenticity and artificiality. All the conversations in the movie take place, after all, in front of a small audience that is, in turn, recording these interactions for the far larger movie audience. Whether Holmes’s occasional blinks and tears in these chats are performative is open to question as are her grasp on language, truth, science and reality itself, all of which Fielder seizes on in a series of interactions that grow progressively weirder.摄制组的其他成员时不时也会入画。这提醒观众：这部电影——推而广之，整个纪录片类型——从根本上具有一种建构性，也与影片对真实性与人造性的执着相契合。毕竟，片中所有对话都发生在一小群观众面前，而这群人又在为数量庞大得多的电影观众记录这些互动。霍姆斯在这些交谈中偶尔的眨眼与泪水是否有表演成分，你可以有自己的答案；她对语言、真相、科学乃至现实本身的把握同样也可以存疑，而菲尔德在一连串愈发怪异的互动中抓住的正是这些。One of Fielder’s superpowers as a performer is his deadpan, which he generally manages to maintain no matter how outlandish the conceit. He’s put it to recurrently unsettling effect on shows in which he — or a version of himself — aggressively toys with the genre of reality television through his interactions with real people. In “Nathan for You,” he offers absurd advice to small-business owners, successfully persuading a frozen-yogurt store manager, for instance, to sell a lab-created fecal-flavored offering, a.k.a. “poo.” The more conceptually ambitious show, “The Rehearsal,” involves him helping people work through assorted personal issues with the use of hired actors and elaborate re-creations of real life.作为表演者，菲尔德的超能力之一是他那张冷脸，无论设定多么荒诞，他通常都能保持这种表情。他在自己的节目里反复用这张冷脸制造令人不安的效果：在那些节目中，他——或者说他的某个化身——通过与真实人物互动，对真人秀这一节目类型进行大胆的戏谑。在《救援高手》(Nathan for You)里，他向小企业主提供荒诞建议，例如，他成功说服了一家冷冻酸奶店的经理，推出一款实验室合成的粪便口味产品，也就是“便便”。在概念上更有雄心的节目《彩排》(The Rehearsal)中，他借助雇来的演员和对现实生活的精心重现，帮助人们处理五花八门的个人问题。Both shows are finally less interesting for what they say about their putative subjects than what they say about those of us who watch them and keep on watching in stitches, shock or horror. Fielder likes to test the limits of propriety and (canned) reality, and he’s having some laughs in the process. He’s also creating social psychological experiments that, in their effect, bring to mind Orson Welles’s 1938 broadcast of the H.G. Wells novel “The War of the Worlds,” about an alien invasion. Welles presented part of the drama as breaking news, which panicked listeners, made headlines and irked the Federal Communications Commission. Welles later said that he had underestimated “the extent of our American lunatic fringe.”这两档节目之所以引人入胜，与其说在于它们揭示了所谓受访者的什么内容，不如说在于它们折射出我们这些观众的内容——我们一边观看，一边忍俊不禁、震惊不已或毛骨悚然，却依然欲罢不能。菲尔德喜欢试探得体与（预录）现实的边界，并在此过程中找些乐子。他同时也在制造社会心理学实验，其效果让人想起奥逊·威尔斯1938年对H·G·威尔斯的小说《世界大战》(The War of the Worlds)的广播改编——该作品讲述了外星人入侵的故事。威尔斯把部分剧情包装为突发新闻，令听众陷入恐慌，事件登上新闻，也惹恼了联邦通信委员会。威尔斯后来说，他低估了“我们美国疯子边缘群体的规模”。That fringe no longer seems marginal, if it ever was. That the world in “You Can See Everything” appears sane is partly because of the legitimacy conferred on Holmes by her fame and the hundreds of millions of dollars that went into Theranos. Serious people took her seriously, which can seem hard to believe given how slippery Holmes and Evans seem here. Indeed, the first image of Fielder in the movie suggests that he and Oppenheim have come to this project with a degree of incredulity. It’s a murky shot of Fielder peering through a window with what looks like comic skepticism. If it’s uncertain what Fielder is thinking at that moment, it is certain that he and Oppenheim have already begun to test your preconceptions.那个边缘群体如今似乎已经不再边缘——如果它曾经是边缘的话。《你能看到一切》中的世界看起来显得理智，部分原因是霍姆斯从名气以及投入Theranos的数亿美元中所获得的公信力。严肃的人士曾认真对待她，而看她与埃文斯在片中表现得如此狡猾，这似乎难以置信。的确，菲尔德在影片中的第一个画面就暗示，他和奥本海姆是带着几分难以置信的感觉进入这个项目的。那是一个模糊的镜头：菲尔德透过窗户窥视，神情中透着一种喜剧式的怀疑。尽管无法确定菲尔德当时在想什么，但可以确定的是，他和奥本海姆已经已经开始测试观众的先入之见。One of the most gob-smackingly wild things about Holmes is how she was able to scam so many. That’s part of the story here, though the more interesting one concerns what we mean by truth in a world of profound epistemological uncertainty. Again and again, Fielder presses Holmes about her past and her present. He stares into her eyes, and she stares right back, as he interrogates her linguistic elisions and wonders about her grasp on a famous old comedy routine. He also watches her as she watches the 2022 TV drama series “The Dropout,” in which Amanda Seyfried plays Holmes. It’s a dizzying moment, all the more so given that we’re watching, too, swept up in a ricochet of gazes in the mirrored fun house we now live in.霍姆斯身上最令人瞠目结舌的一点是她居然能骗过那么多人。这是片中故事的一部分，但更有趣的是，在一个充满深刻认识论不确定性的世界里，我们究竟该如何定义“真相”。菲尔德一次又一次追问霍姆斯的过去与现在。他凝视她的眼睛，她也直直回望，同时他盘问她语言中的省略，质疑她对一段著名老喜剧桥段的理解。他还在她观看2022年电视剧《辍学生》(The Dropout)时从旁观察——剧中阿曼达·塞弗里德饰演霍姆斯。那是一个令人目眩的时刻，尤其因为我们也在观看，被卷入我们如今栖居的这座镜像迷宫中的目光相互反弹。You Can See EverythingRated R for language and male nudity. Running time: 2 hours 54 minutes. In theaters.《你能看到一切》因语言和男性裸露被评为R级。片长：2小时54分钟。院线放映中。Manohla Dargis是时报首席影评人。翻译：经雷点击查看本文英文版。