Holmes Documentary Beats Clayface on Halloween Weekend

The Holmes documentary is winning Halloween. A24's "You Can See Everything," the three-hour film about disgraced Theranos founder Elizabeth Holmes, is on track to top the North American box office again, even with a horror-adjacent superhero movie standing right next to it.

A documentary beating a comic book villain

According to Variety, the film made three point five six million dollars on Friday, its third Friday in theaters, from three thousand two hundred forty-three North American locations. Rival estimates put its weekend at about ten point six five million dollars, on top of fifty-six point eight five million it had already collected since opening on October sixteenth.

Just behind it sits Warner Bros. and DC's "Clayface," which pulled in three point three million dollars on its second Friday. Variety says that movie has made thirty-six point nine million dollars so far, with another ten point two five million expected by Sunday.

Deadline's Saturday morning update has the Holmes documentary at an edge, with a shot at eleven million dollars for the weekend. Its running total could land near sixty-four million dollars by Sunday night, while "Clayface" heads toward roughly forty-four million.

Why Halloween weekend is so weird this year

Halloween landing on a Saturday is a box office nightmare. According to Deadline, the whole weekend is expected to stay north of sixty-three million dollars across all titles, which is close to the worst of the year but not quite. The lowest weekend of 2026 was in late January, at fifty-four point eight million dollars.

No major studio wanted to open a wide release against costume parties and trick-or-treating. The most notable new wide release is "Christmas at the Kringles," a holiday horror-comedy in one thousand eight hundred twenty-five theaters. Deadline reports it made about three hundred seventy thousand dollars on Friday and still sits at zero percent on Rotten Tomatoes.

The meme machine behind the numbers

This is not the usual path for a three-hour documentary. Deadline credits nonstop social media memes, and says Elizabeth Holmes and Nathan Fielder have become popular Halloween costumes this year. That kind of cultural moment is hard to buy with a marketing budget.

Variety notes that Fielder and filmmaker Lance Oppenheim quietly worked on the movie for more than three years. It offers what the trade paper calls an unhinged look at Holmes a month before she began an eleven-year prison sentence for defrauding investors.

The film is also an awards contender. Variety says it is eligible for best documentary feature at the ninety-ninth Academy Awards, and A24 plans to submit it across the board, including best picture, directing, editing and sound.

How big is big for a documentary?

Deadline points out that the film has already passed several famous docs on the domestic chart. Those include Michael Moore's "Bowling for Columbine" and Al Gore's "An Inconvenient Truth." The all-time record for a non-nature, non-concert documentary is still Moore's "Fahrenheit 9/11" at about one hundred nineteen million dollars, so there is some road left.

The drop-off is also healthy. The film is down about forty-two percent from last weekend, a softer fall than "Clayface," which is down fifty-seven percent from its opening. For a movie that expanded by five hundred eighty-eight theaters this week, that is a strong hold.

A24 has more to celebrate than one film. Deadline says the studio just crossed the half-billion-dollar mark at the domestic box office for the year, its best ever.

What to watch next

Final numbers arrive Monday, and the order at the top could still flip if horror fans show up on Sunday. For anyone following movie news, this weekend is a good reminder that internet attention, not just superheroes, can fill theaters. More on that in our movies coverage.

Elsewhere on the chart, Laika's "Wildwood" held third with about seven million dollars, and Black Bear's "Wicker" is expanding with strong audience scores. The Holmes documentary may be the story, but the whole chart is showing how unpredictable moviegoing has become.