Elizabeth Holmes Documentary Sells Out European Screens Weeks Before Release

Nathan Fielder and Lance Oppenheim’s documentary about Elizabeth Holmes is prompting cinema chains across Europe to add extra screenings weeks before the film’s official release. In the United Kingdom, where A24 is handling distribution, tickets for the Nov. 20 opening have already sold out. Chains including Picturehouse and Cineworld are responding to the demand by increasing their showtimes. Distributors expect the film to open in approximately 500 U.K. cinemas, a much larger launch than the staggered rollout used in the United States.

The anticipation in France mirrors the trend in the U.K. Metropolitan Filmexport, which acquired the film at the Toronto International Film Festival, organized a nationwide series of sneak previews on Dec. 1 in roughly 100 theaters. Victor Hadida, the company’s president, reported that tickets went on sale at 9 a.m. on Saturday, with several locations selling out by noon. The distributor plans to open the film in 150 to 200 theaters on Dec. 30 before expanding based on audience response.

The film’s momentum challenges existing box office records for documentaries. In the U.K., 2004’s “Fahrenheit 9/11” remains the highest-grossing non-concert documentary with a lifetime total of £6.55 million, equivalent to approximately $16.6 million in today’s dollars. Industry executives believe “You Can See Everything” will surpass that figure. A U.K. distribution executive noted that pre-bookings suggest the film could become one of the largest documentaries of all time.

Sony Pictures has secured distribution rights for 29 territories across Europe, Asia, the Middle East, and South America. The company has set opening dates between Nov. 19 and Dec. 9. In Scandinavia, the film will open in Denmark, Finland, Norway, and Sweden within a 48-hour window starting Nov. 19. Germany will see its release on Dec. 3. In India, Mexico, South Korea, and Brazil, release dates are part of the broader rollout schedule.

Marketing strategies for the film emphasize minimalism to preserve viewer surprise. A publicity insider stated that standard media lines may be scrapped to protect key plot points. Fielder and Oppenheim are scheduled to attend two BAFTA screenings in London next week. Metropolitan Filmexport is also hoping to bring the filmmakers to Paris in December. Q&A sessions will likely be limited to awards voters.

The film’s nearly three-hour running time influenced the decision to target the Christmas holiday period in France, when audiences have more time for longer screenings. However, censorship regulations in the Middle East require a cut to the film’s R-rated scene for graphic nudity. This specific edit is not critical to the plot but will be necessary for release in those regions.

The documentary’s success has been driven largely by word of mouth. Hadida noted that social media engagement and theater inquiries demonstrate sustained demand. A U.K. distribution executive described the current buzz as unmatched in their experience, citing the speed at which tickets are disappearing.