“You Can See Everything” has already become a box office hit, opening with $15 million during its debut weekend (according to Sunday projections). This marks the second-largest opening weekend for a documentary film in history.

The nearly three-hour film — revealed last month at a clandestine screening at the Telluride Film Festival —  is only showing in 855 cinemas this weekend. (In comparison, the top movie of the weekend, “Street Fighter,” is being screened in 3,575 venues.) Nevertheless, it reportedly had 2,000 sellout shows, with reviews being extremely favorable; “You Can See Everything” now boasts scores of 99% on both Rotten Tomatoes and Metacritic.

The narrative of Elizabeth Holmes’ ascent and downfall — establishing the blood-testing startup Theranos, garnering backing from many prominent figures in Silicon Valley, and ultimately receiving an 11-year prison sentence for defrauding investors — has been recounted in books, podcasts, television programs, and various documentaries.

However, the filmmakers of “You Can See Everything” were granted significant access to Holmes and her family during the month leading up to her incarceration, and the participation of “The Rehearsal” creator Nathan Fielder — who co-directed the film with Lance Oppenheim — adds an extra layer of intrigue.

While I haven’t personally viewed the film, I can confirm the challenge of securing tickets in Manhattan: I spent considerable time yesterday seeking a showing for tonight and managed to find only one with available seats that weren’t in the front row. (Yes, I am definitely going.)

TechCrunch’s Amanda Silberling managed to catch it on Thursday. She mentioned that the enigmatic Holmes seems to have finally encountered her match in Fielder, a deadpan comic who is arguably just as peculiar and enigmatic as she is. Fielder’s month spent with Holmes is reportedly just the start of what appears to be an increasingly surreal, metatextual journey.

The buzz surrounding “You Can See Everything” might be making it tougher for other technology-focused films to gain traction. Aaron Sorkin’s follow-up to “The Social Network,” titled “The Social Reckoning,” debuted to a disappointing $5.5 million last weekend and has already dropped out of the top 10 entirely. Meanwhile, Alex Gibney’s four-hour documentary “Musk” — possibly hindered by pushback from social media platforms and its lengthy runtime — only earned $306,702 this weekend.