Cinema Admits All

The Last Day (2002)

Milton’s last investigation will lead him directly to the morgue. One way or another.
A period neo-noir thriller in which a private eye investigates a case of blackmail. One in which he is the victim. Acting on threats from an unknown villain, his reputation may not be the only thing on the line.
Mahler (2004)

Imagine your name, scrawled across a large manila envelope. Inside are a series of blurred 8x10’s, all showing a shadowed stranger sitting right where you are. He’s sifting through highly sensitive documents… yours.

This is how Patrick Milton’s day begins, one the hard-boiled private eye will never forget. Nobody likes to be taken for a sap - especially when reputations pay the bills - and with some shady ‘author’ printing his every move and wrapping it in fiction, some old clients might get sore.

Taking the bait in order to save his career, the glass-jawed shamus follows a trail of incrimination left by an anonymous, yet strangely familiar, adversary.

But what danger lies at the end of this road? And these searing headaches… the nose bleeds… the blackouts. Is he being drugged?

Milton’s last day is about to dissolve into a surreal nightmare from which he may never awake…

With a dense plot and steeped in atmosphere, this moody and existential Neo-noir is our enigmatic debut feature. See where our journey began…


Paul Roberts
Daniel Chapman
Sunday July 27th 2002 (UK)
  • Drama
  • Film Noir
  • Thriller

Cast (in credits order)

    • Chris Frankland
    • Chris Frankland
    • Patrick Milton
    • Victoria Allen
    • Victoria Allen
    • Rachel
    • Michael Carruthers
    • Michael Carruthers
    • Thomas Beaumont

Additional Details

20 mins
Aspect Ratio:
2.35:1 Letterbox
Sound Mix:


    • Daniel Chapman
    • Producer
    • Editor
    • Jon McDermott
    • Camera Operator
    • Foley Artist
    • Paul Roberts
    • Director of Photography
    • Craig Stewart
    • Foley Artist


  • The forest scene was originally very different. The first footage we ever shot for a short film, we attempted ‘Day For Night’ (in daylight, with a heavy blue tint). The effect was so disappointing, the original footage was immediately discarded and the scene fully redesigned for a night shoot.
  • In the library scene, the shadow of the ‘author’ is that of the screenwriter.
  • The songs used were chosen very carefully for both their musicality and sentiment. If you listen carefully, the lyrics provide subtle hints regarding the characters and story.
  • There are numerous references and two-precenters to Film Noir movies and pulp detective authors, most of which are way too obscure for anyone to notice.
Spiderhouse Productions Ltd
Mike J Hadfield
Look and code by Volicol