“Andy Milligan is one scary man,” said John Waters of the Times Square trash auteurist. “Can a genius be untalented, too?” Milligan—whom Artforum once dubbed “The Fassbinder of 42nd Street”—remains one of the most distinctive, dubious, and elusive grind-house filmmakers of the 60s and 70s. Technically incompetent yet teeming with energy, Milligan’s pictures are essential gutter-dwelling documents of a New York long gone. When he died from AIDS, in 1991, he was destitute, and most of his oeuvre considered “lost.” On Friday, June 13, the Tribeca Film Festival is screening That’s TribecXploitation! The Andy Milligan Time Machine, a special “World Re-Premiere” double feature of two such white whale movies not seen since the late–60s, prints of which were recently discovered by Severin, a studio that restores cult films. At the top of the ticket is 1968’s Kiss Me, Kiss Me, Kiss Me! (described as “a demented domestic nightmare in which a New York woman fights her abusive husband amidst an affair with his friend”), followed by 1967’s The Degenerates (“a shamelessly trashy exercise in post-apocalyptic sex and violence”). Milligan biographer Jimmy McDonough (The Ghastly One: The Sex- Gore Netherworld of Filmmaker Andy Milligan, published in 2001) will host the event, which includes “vintage exploitation film trailers and intermission commercials that capture the ways things really looked and felt in NYC at the time.” —Spike Carter