At the core, a documentary is about a search for the truth. It wants to shed a light on a subject, whether that be a person, an object, or an idea. It wants to tell you about something you don’t know. It wants to present the facts and let you make your own decision. But it can be hard for the documentarian not to be changed by the documented subject.

That’s certainly something Nathan Fielder understands. If you’ve ever watched his content in shows like Nathan For You or The Rehearsal, you know how involved he becomes in these explorations. They weigh on him. They consume him. They change him. For season two of The Rehearsal, he even became a licensed commercial airline pilot. He’s willing to go the extra mile.

Which is what makes his new project so fascinating. He and Lance Oppenheim teamed on a new project exploring Elizabeth Holmes. Most of us know a lot about her and her actions. At least we think we do. The point of this project, You Can See Everything, is to explore the truth through unfettered access. But it quickly becomes so much more.

The premise of the film is based on a straightforward concept. Holmes, convicted and with only 34 days left before she surrenders for an 11-year prison sentence, agrees to let a camera crew document all aspects of her life. She and her partner, Billy Evans, agree to have cameras with them and their young children in a rental house in San Diego during this final month of freedom.

And at the outset, it is very much about this. Fielder, as the voice of the documentarian, is trying to understand Elizabeth and Billy. He’s trying to get at the truth of their lives, the case, and their relationship. But as it unfolds, things slowly make a turn.

I won’t say more, because this is a film that needs to be explored individually. There are already far too many details about the film and what happens in the film floating out there. I recommend trying to see the film before you know much about it because what unfolds over the course of nearly three hours is challenging, uncomfortable, engaging, and unlike anything I’ve ever seen.

We recently saw Oppenheim’s narrative feature, Primetime. That is a similarly uncomfortable story with a flawed main subject. And one of the things I noted was the move of the camera and the ultra tight shots that increased the feeling of sitting in discomfort. That same style is applied here, and it works brilliantly.

The other thing that works brilliantly is Fielder. He has a certain style and a great ability to probe and ask the difficult question even if it makes things awkward. He does that here and it helps dig into some fascinating truths. There are times where it’s clear he doesn’t know what to believe, and as an audience you go along on a journey with him.

There is also a surprise addition to the main focus of the film that comes in during the second half. It’s a brilliant revelation and becomes a brilliant piece of this film. It adds to the depth of the exploration and is work so good it should be worthy of award-consideration.

This film is completely unique. It’s funny, it’s poignant, and it’s extremely uncomfortable. All of it works in a masterful way to create something that holds your attention and won’t let go. It’s the film of the year and one of the most unique productions I’ve ever seen. It’s worth seeking out as soon as possible.

You Can See Everything is now playing nationwide.

Matthew Fox is a graduate of the Radio, Television and Film program at Biola University, and a giant nerd. He spends his free time watching movies, TV, and obsessing about football. He is a member of the FSWA. You can find him @knighthawk7734 on Twitter and as co-host of the Fantasy Football Roundtable Podcast.