A lone gunman sits outside an apartment. Inside, his target is clueless to his fate. The two started out working in the same crime operation, but jealousy and business have gotten in the way. Now, one of them must go.

Co-written and directed by Christopher Di Nunzio, this 7-minute suspenseful thriller combines elements of Goodfellas with any number of crime syndicate dramas that have crossed our way over the years. It's a simple idea, really. One man sits in a vehicle waiting for the right moment to do what he knows must be done. The other man is at least abstractly aware that something isn't right, but ultimately has no clue what is about to come down.

Jason Miller's camera work is, in particular, what really sells Last Bet, Last Mistake, a film that feels a bit slight and will ultimately leave you wanting a bit more in both good and not so great ways. The film feels like it is essentially one scene in a feature crime drama, a film with characters who could easily exist in nearly action flick. Miller's camera focuses almost squarely on the characters themselves, as if it's watching for any sign, any clue of the card that's about to be played. The trio of actors act with more of their physical being than actual dialogue, allowing the suspense to show through their eyes, their stances and the ways in which their bodies stand. It's arguable, even at a rather slight seven minutes, that the scene feels a touch drawn out as the film winds down to its climactic moment. Yet, the actors wear this scene well and it remains an intriguing watch.

An earlier work of Di Nunzio, who this year directed the doc Viva! Saint Agrippina, the film gives an early indication of Di Nunzio's interest in exploring characters, their inspirations and exactly what makes them tick as they go about their daily lives.