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Let's Make a Movie

New short film from Peabody Award winner casts 1980s Dallas as main character

Whitney Harris
Jun 23, 2014 | 9:52 am
New short film from Peabody Award winner casts 1980s Dallas as main character
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Dallas is about to become the center focus of a new movie directed by Samantha Buck. And though she may be best known as Detective G. Lynn Bishop on Law & Order: Criminal Intent, her writing and directing chops (she’s a Peabody Award winner for her documentary Best Kept Secret) are about to get some more play.

Buck, a Dallas native, has co-written a short film with Marie Schlingmann called The Mink Catcher about a local gossip columnist in 1980s Dallas who’s trying to acquaint herself with the city’s mystifying new first lady. The titular character will be played by Cara Buono (Mad Men, The Sopranos) and the object of her attention — the mayor’s wife — will be played by Susan May Pratt (10 Things I Hate About You, Center Stage).

“This moment in time (and place) seemed ripe with dramatic, suspenseful and funny possibilities,” says director Samantha Buck.

The story catches fire at a high society viewing party for the hit TV show Dallas. The infamous “Who Shot J.R.?” episode is about to air, and the city’s most well-to-do have gathered to toast the television series, socialize, and watch the drama on screen — and around the room — unfold.

“We felt that specifically the year 1980 was a turning point for the city of Dallas, as well as for national politics and the temperament of the country,” Buck says. “In a way it seems like Dallas was at the heart of what was defining for the country at large, the role of popular culture and the role of women in politics and work life being two significant elements of these shifts.

“This moment in time (and place) seemed ripe with dramatic, suspenseful and funny possibilities.”

Buck actually credits her mother with providing inspiration for the film. “I saw her and her female friends’ ambitions and struggles during that very tumultuous time, and I guess I never really thought about the dramatic potential of it all until I became a storyteller myself.”

That story is currently positioned to be a 15-minute film with plans to release next spring, at which point an accompanying feature script, The Big D, should be ready. (The Big D will have a larger cast of characters and more broadly cover the heatwaved summer of 1980, the presidential race and the whole “Who Shot JR?” craze.)

The goal is to shoot everything on location in Dallas and submit the final product to festivals next year. But first, the nine-person crew has launched a Kickstarter campaign to raise funds for everything from location fees to hair and makeup. The goal is $9,000, and backers have already pledged more than $7,400. That said, the team needs to meet its target in these final hours in order to cash in on those promises.

“We love the idea of bringing an audience into the picture in the early stages, before the film is even made,” says producer Daniella Kahane. “Part of the beauty of filmmaking is that it takes a village, so to speak, and with crowdsourcing it’s the same way. A truly successful campaign relies on reaching many people who are giving small donations rather than few people giving large ones.”

The project is fully cast, has about 90 percent of the crew committed and its dream location locked down. And, by the end of day June 24, the team just might have an extra $9K to make its “darkly comic melodrama” script into a mini-movie.

Director and co-writer Samantha Buck was born in Dallas and wants to use the city as a crucible for her melodramatic story.

Photo courtesy of the Mink Catcher
Director and co-writer Samantha Buck was born in Dallas and wants to use the city as a crucible for her melodramatic story.
unspecified
news/entertainment

Movie Review

Theranos founder Elizabeth Holmes' doc leaves truth in question

Alex Bentley
Oct 15, 2026 | 11:42 am
Nathan Fielder and Elizabeth Holmes in You Can See Everything
Photo courtesy of A24
Nathan Fielder and Elizabeth Holmes in You Can See Everything.

Elizabeth Holmes faced one of the most public downfalls in recent history after she was accused of defrauding investors in her health technology company, Theranos. Her subsequent indictment and conviction drew the interest of many, including, it seems, comedian/actor/filmmaker Nathan Fielder. Fielder somehow convinced Holmes and her husband, Billy Evans, to make a documentary about her final days of freedom, called You Can See Everything.

It’s not immediately clear why Fielder — who only has one previous feature-length documentary to his credit — is interested in profiling Holmes, but the approach that he and co-director Lance Oppenheim (Primetime) take is one that puts Fielder in the spotlight as much as her or Evans. Fielder looms over the couple — sometimes literally, sometimes from afar — as they care for their children, make meals, try to re-establish business relationships, and prepare for Holmes’ prison sentence, which is due to start about a month after the film begins in 2023.

Fielder quizzes Holmes and Evans about predictable subjects — such as how Theranos worked, her relationship with COO Sunny Balwani, and her conviction — and ones that are slightly off-kilter, including the miniseries The Dropout, which dramatized Holmes’ rise and fall. He is met with seeming openness by both of them — the title of the movie is uttered by Holmes at one point — but there are times where their idea of transparency doesn’t jibe with Fielder’s expectations.

Through it all, the quirky reputation that Fielder has from TV shows like Nathan for You, The Curse, and The Rehearsal colors his participation, as well. He appears sincere, if surprisingly intense, in his questioning, but there are more than a few moments where it’s fair to wonder if the whole thing is an act of performance art. That suspicion grows in the second half of the nearly three-hour film as Fielder and Oppenheim go down roads that stretch the definition of what a documentary is or can be.

The film is utterly fascinating as the filmmakers go on what seems to be a full-on exploration of the meaning of truth. Holmes and Evans, either intentionally or unintentionally, carry on conversations with Fielder with wide-open, unblinking eyes, something that conveys honesty and creepiness in equal measures. Fielder meets them with squinting expressions, looking like he’s trying to determine how candid they’re actually being.

One of the biggest things the film reveals (or does it?) is that — if she’s not a sociopath — Holmes might be someone who’s either oblivious or naive. As cryptic or strange as she can be in words and actions, Evans is even more so, and as the film progresses it’s him whose motives and ideas are called into question. Control over the narrative of the film wobbles back-and-forth between Fielder, Holmes, and Evans, and even at the end it’s unclear whose perspective has truly won out.

There is no way to accurately get across what it’s like to watch You Can See Everything for the first time. The motives of everyone involved are up in the air, resulting in a roller coaster ride that’s full of astonishment, laughs, and a number of surprises. It’s an audacious film that can’t be categorized, one that will challenge the thinking of voters when it comes time for awards season.

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You Can See Everything opens in theaters on October 16.

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