Is Nathan Fielder and Lance Oppenheim’s You Can See Everything the movie of the year? In terms of conversation, certainly. The A24 doc, ostensibly about convicted fraudster Elizabeth Holmes, parachuted into awards season with a surprise premiere at the Telluride Film Festival over Labor Day weekend — and has been starting discussions on topics as weighty as truth, accountability and the nature of documentaries ever since. At first focused on conversations Fielder has with Holmes and her partner, Billy Evans, in the month before she heads to jail to complete an 11-year sentence, You Can See Everything morphs into something far weirder and slippery in its second half — bringing hybrid elements to the front that will be familiar to fans of Fielder’s work on The Rehearsal and Nathan For You. Ever since the Telluride premiere, the discussion has been about how far the movie might go with Academy members — particularly the notoriously finicky documentary branch. But if any doc is going to make history as the first-ever to land in the best picture field, it’s probably this one.