A wave of highly anticipated documentary films is defining the autumn season, a trend some are calling “Doctober.” At the center of this movement is Nathan Fielder and Lance Oppenheim’s collaboration, “You Can See Everything,” which tracks the life of disgraced Theranos founder Elizabeth Holmes. The project has sparked immense public interest, with crowds in New York scrambling for seats at its sold-out premiere. Demand was so intense that one attendee, forced to sell their ticket due to childcare duties, initiated a raffle for more than 200 hopeful participants, which had to be managed via a live stream. First by dozens, then eventually over 200 people, the seller was swarmed. “You Can See Everything,” a collaboration between Fielder and documentary wunderkind Lance Oppenheim, is one of several docs that have grabbed the cultural conversation in recent weeks, ranging from features tackling hum. Near the back — that they had to get rid of because of a childcare commitment, one lucky person had a ticket — a subpar seat. The hype has been building online for weeks.
The documentary’s promotional momentum began in September with a surprise screening at Telluride. A brief clip from the film featuring Fielder and Holmes has since generated nearly 8 million views on YouTube, quickly becoming a fixture of internet culture and memes. This appetite for non-fiction storytelling is not isolated; it arrives alongside significant interest in documentary series covering figures like Jay-Z and the late Matthew Perry. A short clip of Fielder opposite Holmes has racked up nearly 8 million views on YouTube since it was released alongside the Telluride showing and immediately entered the zeitgeist, memed nearly to death.
Industry experts suggest this surge in interest is a reaction to an increasingly synthetic world. Filmmaker Christopher Chambers, who is preparing to release the human rights documentary “A Fire Within,” believes that in an age dominated by artificial intelligence, society is teetering on the precipice of the uncanny valley. He argues that audiences are seeking an authentic connection to reality that only documentaries can provide, noting that while funding for such films is often difficult, successful projects demonstrate a clear audience demand that encourages buyers and investors.
The current landscape of non-fiction cinema is diverse. Director John Wilson’s debut feature offers an essayistic, behind-the-scenes look at the struggle to secure funding despite achieving professional success. The film has outperformed expectations, securing the largest documentary premiere ever at the IFC Center in New York. Wilson advocates for more experimental, unconventional storytelling as a counter to repetitive media trends.
Other notable fall releases include Alex Gibney’s four-hour examination of Elon Musk. Due to substantial public interest, the film’s theatrical release was moved up to October 9. While it covers familiar ground regarding Musk’s pursuit of power and financial records, it serves as a comprehensive archival document for the future. Meanwhile, the festival circuit has lauded “NAZA,” a film featuring interviews with Israeli military personnel regarding systems used in Gaza. The project, executive produced by Jonathan Glazer, famously received a 25-minute ovation at Venice and prompted threats from Prime Minister Benjamin Netanyahu against its directors, Yuval Abraham and Rachel Szor.
Filmmakers continue to break traditional molds to reach audiences. Brydie O’Connor’s “Barbara Forever,” a profile of avant-garde filmmaker Barbara Hammer, defied the industry’s typical reluctance to fund projects outside the categories of cults, crime, and celebrity. After finding success at Sundance and the Berlinale, O’Connor remarked that the positive reception serves as a beacon of hope for the future of the medium. Elsewhere, the commitment to long-form storytelling remains strong; director Julia Loktev has released the second part of “My Undesirable Friends: Part I — Last Air in Moscow,” bringing the total runtime of her study on independent Russian journalists to nearly 12 hours.
Historical preservation is also a major focus this season, highlighted by a project detailing a 1972 gathering of the last surviving members of the Harlem Renaissance at Duke Ellington’s home, marking a father-son collaboration 50 years in the making. Additionally, the horror genre is being revisited through a Hulu documentary examining the 2016 phenomenon of suburban clown sightings. Finally, comedian Judd Apatow is contributing to the season with a documentary chronicling the life of the late Norm MacDonald, who passed away in 2021.
