THE WILD WORLD OF TED V. MIKELS, a new documentary by Kevin Sean Michaels (no blood relation to Ted, but the same spirit), is a rollicking look at the independent cinema and film pioneering of Ted V. Mikels, who has been producing films for over 60 years. Way before limited-budget action films became termed as "grindhouse," Ted was wowing audiences with his own special brand of guts, gore, humor, violence and most of all -- style. THE CORPSE GRINDERS 1 + 2, THE ASTRO-ZOMBIES, 10 VIOLENT WOMEN, MISSION: KILLFAST, THE BLACK KLANSMAN, THE DOLL SQUAD, THE WORM EATERS and GIRL IN GOLD BOOTS are some of Ted's films that have made their cinematic mark.

The existence of mankind hangs in the balance as two warring factions of aliens do battle in Mark of the Astro Zombies. The film begins with an invasion of Earth by aliens who plan to turn human beings into zombies. They gather high-level government officials and attempt to get from them certain knowledge and information they will need. A kind race of aliens lands on Earth and decides to try and stop the evil ones from succeeding with their plans.

When a space ship containing hazardous material explodes over a small rural town, a deadly virus is unleashed upon the population, turning them into zombies. Only the alien being responsible for the terrible accident and a small group of survivors can stop the epidemic from spreading, but first they have to survive the experience.

This documentary explores the hidden history of the American Exploitation Film. The movie digs deep into this often overlooked category of U.S. cinema and unearths the shameless and occasionally shocking origins of this popular entertainment.

A spaghetti western in science fiction clothing. Competing female bounty hunters track down the ultimate treasure on a planet wracked with turmoil. A drug named psylenol has hit the streets, stolen from a secret military program and reconditioned to be an over-the-counter psychedelic. When the general populace starts developing telekinetic powers, the corrupt government of Zita declares martial law. When the film starts, a confiscated shipment of the drug has been stolen. Now the race is on to obtain the last supply of the most powerful drug in the universe!

A campy low-budget sequel to 1971's cult classic gore-fest with an interplanetary sub-plot grafted on. The giant flesh-mangling meat grinder in the basement of the Lotus Cat Food Company is back in business under new management. And this time the popular "food for cats who like people" has drawn the attention of an alien race of intelligent felines from the planet Ceta. The Cetans' food supply has been destroyed in their interplanetary war with dog-headed dinosaurs. With help from the U.S. government's "men in black" the cat queen, Felina, negotiates a mega-deal with the Lotus Company to supply her planet with food. This sudden increase in orders has the new owners scrambling for fresh - and not-so-fresh- human flesh to meet the growing demand.

Escaped murderer Cal Lewis wants revenge for those responsible for him being put away. Enroute from Texas to Las Vegas he crosses paths with young TV news reporter Deidre Holland who quickly becomes his target.

Vampires run amok in New York City.

Landau, the young owner of "Lotus Cat Food", is struggling to keep the company alive as business is worse than expected. Landau is broke and down on his luck and can no longer afford to pay his employees. Because of this, he starts to kill one of his employees every couple of days. Gradually, more people disappear until the police become involved in the case. One of the missing persons, Frank, has an overprotective girlfriend, Tessie, who sets out in search for him. Tessie follows the leads all the way back to "Lotus Cat Food" and its sinister truths.

The one and only Tura Satana. Best remembered for her role as the fierce Varla in Russ Meyer’s 1965 cult classic Faster, Pussycat! Kill! Kill!, Tura’s real life was just as wild and unapologetic as her on-screen persona. And her post-film legacy was just as noteworthy, leaving a fist-shaped mark on pop culture and an indelible signature in burlesque stages, queer clubs, and comic conventions everywhere.