For two years, Amanda Llewellyn wasn’t sure she wanted to tell her own story in UFOs and God. She was helping make the documentary, asking other people about experiences they sometimes struggled to discuss. Deciding whether to put her own account on camera was another matter.
Her husband and co-director, Wes Llewellyn, says that decision belonged to her.
“I was not going to force or push her to share,” he said in a written interview. “The decision had to be hers.”
Now available digitally, UFOs and God examines UFO reports, accounts of alleged encounters and questions about their meaning through a Christian perspective. For the Llewellyns, the subject reaches well beyond the familiar arguments about strange lights in the sky. It touches their marriage, their faith and Amanda’s account of frightening experiences during childhood.
In the interview, Wes discusses how those experiences shaped the project, why Amanda led the conversations with its subjects and where he draws the line between his convictions and the questions he still cannot answer.
The short version: Wes and Amanda spent four years making UFOs and God. Wes describes a film built around personal testimony and Christian interpretation, with Amanda conducting the interviews and both filmmakers sharing the editing work. Viewers can find a digital rental or purchase through the Apple TV Store.
What Wes Llewellyn wanted UFOs and God to answer
Wes is straightforward about the beliefs he brought to the documentary. Making it did not send him toward a completely different explanation.
“It didn’t change what I believed, it clarified my belief,” he said.
His initial response to Amanda’s account was more hesitant. He believed she was sincere, he explained, while questioning whether what she described had happened as she remembered it. Over time, he came to accept her account and began considering what it meant within his faith.
Wes interprets the reported encounters as spiritual and potentially harmful. That view informs the questions he asks about the popular image of advanced beings arriving to help humanity.
He also acknowledges that conviction has not answered every question.
“So, I would say that most of what makes up this phenomenon is still a mystery,” he said when asked what remained unresolved.
Why Amanda took time to share her experiences
According to Wes, the documentary took four years to make. During its first two years, Amanda was still deciding whether to discuss what she describes as childhood abductions. Before then, he says, she had shared her account with only a small circle of relatives and friends.
A conversation with interview subject Jason Dezember helped her reconsider. Wes recalls that Dezember spoke about feeling a responsibility to share his own story, despite having been unhappy with how previous interviews had portrayed him.
Amanda told Dezember about her experiences as a way of reassuring him that the filmmakers intended to treat his account respectfully. Wes says he was one of only two interviewees they told, because they did not want her story to influence everyone else’s responses.
“My responsibility to her was always husband first,” Wes said. “We look out for each other, making movies and telling stories. That’s what we have done together for nearly 30 years.”
It is an unusually personal arrangement for a documentary. Amanda was helping other people speak openly while deciding how much of herself she was prepared to share.
Co-Director of UFOs and GOD
Amanda’s role behind the camera
Although Wes hosts the film, he says Amanda did much of the work of guiding its interviews.
“The reason that Amanda is a ‘co-director’ on the film is that she was the one interviewing the guests and shaping what kind of content we were getting on camera,” he explained.
Wes handled sound, camera and lighting, adding questions when he had them. They traveled together as a small crew, occasionally accepting help, then worked together on the edit.
That division of responsibilities gave Amanda a substantial role in determining what the film would contain. Her contribution extended from the conversations themselves to deciding how those conversations would fit together.
Giving interviewees room to disagree
The film’s official website lists participants including Hugh Ross, Deborah Haarsma, theologian Ray Boeche and former Navy radar operator Gary Voorhis. Their backgrounds bring different approaches to a subject that attracts scientific, religious and personal explanations.
Wes says the filmmakers did not expect agreement from everyone.
“Some people we agreed with and some we did not, but we respected each guest and allowed them time to fully express themselves,” he said.
He describes creating a welcoming interview setting and avoiding edits that would change a speaker’s meaning. Some interviews did not make the finished film, he added, because the couple feared those participants might be ridiculed by the largely Christian audience they expected to reach.
Those decisions reveal a protective approach to the people on camera. They also show how the intended audience influenced the final selection.
Questions about belonging and being heard also run through GVN’s review of They’re Here, a separate documentary about people brought together by their beliefs about UFO encounters.
Where testimony ends and interpretation begins
Asked how the production assessed the accounts it received, Wes said independent corroboration was not the purpose he had set for the project.
“We were just reporting on what was said,” he explained. He described trusting that interviewees were recounting either what happened or what they believed had happened.
That distinction is useful when approaching UFOs and God. A person’s account, the filmmakers’ understanding of it and independently established evidence are different things.
NASA’s current UAP guidance states that it has not found credible evidence of extraterrestrial life or evidence establishing that UAP are extraterrestrial. An unidentified observation does not, by itself, establish an alien or spiritual origin.
Wes approaches the question through Scripture. He cites Genesis 6 and Ephesians 6:12 among the passages informing his belief that the reported encounters have a spiritual explanation. These are his theological interpretations, rather than conclusions established by UFO observations.
He does not see the possible discovery of life elsewhere as inherently incompatible with his Christianity, either. Asked about that possibility, he said it would not change his relationship with Jesus Christ.
Why the documentary borrows the look of older science fiction
The Llewellyns also wanted the film to be watchable for people who might not normally seek out a theological discussion about UFOs.
Wes describes a deliberately nostalgic visual approach: old television sets, archival footage, period-inspired lettering and transitions. Those choices acknowledge the decades of popular entertainment that have shaped what audiences expect aliens to look and sound like.
“The music is very mid-century… Young John Williams meets Leonard Bernstein,” he said.
He says the reenactments’ colors and atmosphere were chosen with that same history in mind. The filmmakers wanted room to play with familiar science-fiction imagery while discussing a subject they take seriously.
“If a film is not entertaining, people will not watch it and if people don’t watch it your project is ineffective,” Wes said.
For another example of how filmmakers have approached reported encounters, GVN’s review of The UFO Incident revisits the 1975 dramatization of Betty and Barney Hill’s account, starring Estelle Parsons and James Earl Jones.
What he hopes skeptical viewers will take away
Wes knows some viewers will reject the film’s conclusions. What he wants, he says, is a willingness to keep talking.
“I do not care if someone does not believe what we said or what conclusions we have come to,” he said. “What I do care about is their willingness to engage and to talk seriously about the UAP/UFO phenomenon.”
His answers return repeatedly to the fear of people being dismissed when they describe something distressing. The documentary’s Christian message is central to how he wants to respond, but his account of making it also comes back to a quieter obligation: letting people decide what they are ready to say.
That started at home, with Amanda, long before the film was finished.
Where to watch UFOs and God
UFOs and God is available digitally following its September 11, 2026 release. Vision Films’ release announcement named Amazon, Apple TV/iTunes, Google Play and cable providers among its distribution outlets in the United States and Canada.
For a current U.S. rental or purchase option, visit the film’s Apple TV Store listing. JustWatch also lists its rental and purchase availability. This is a digital store release; the listing does not mean it is included with an Apple TV subscription.
The official trailer and further information are available on the filmmakers’ website.
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