Liam Epstein

Liam Epstein’s filmography is honestly kind of wild—this guy doesn’t just stick to one lane. First up, “UFO” (2021). Yeah, the title says it all, but it’s not your typical tinfoil-hat alien flick. It dives into the whole obsession with the unknown, following a group of friends who get way too deep into conspiracy theories and end up, well, knee-deep in something way bigger than they bargained for. There’s paranoia, late-night stakeouts, and that one character who’s always got a theory about government cover-ups. It’s more about the people than the actual UFOs, which makes it way more interesting than you’d think. Jump to “Biggest Heist Ever” (2024), and it’s a totally different vibe. You get this ragtag crew, none of whom look like they belong together, plotting a heist that’s so ambitious you’re just waiting for everything to go sideways. Think double-crosses, tech that barely works, plans that unravel at the worst possible time, and a bunch of characters you probably shouldn’t root for but totally do. There’s tension, chaos, and those little moments where you want to yell at the screen because you can see what’s about to go wrong miles away. Then there’s “Garland Jeffreys: The King of in Between” (2023). This one’s a documentary, but it’s not dry or boring—more like hanging out at a smokey bar listening to stories from someone who’s seen it all. It digs into Garland Jeffreys’ career, the ups and downs, the weird gigs, the almost-made-its, and the stuff people usually gloss over. You get music, old footage, and a sense that life’s a lot messier (and more interesting) than people pretend. All together, Epstein’s movies have this raw, lived-in feel—never polished, always a little unpredictable.