Sherlock Holmes, Miss Marple, Philip Marlowe, Nancy Drew—to these esteemed names in the field of detective-ing we must now add…filmmaker Derek Milton!? Or, considering he’s a real person, should I reach for Eliot Ness, Vidocq, and Pinkerton? In endeavoring to solve the biggest mystery relating to urine that South Pasadena has ever seen, Milton places himself among the greats of the investigative craft, documenting his quixotic obsession in a shaggy and absurd comedic documentary that captured the attention of all of LA last year.This is a deliberately silly intro, but The Piss Saga is a silly film. Milton observed for years that an electrical utility box alongside a busy street in his neighborhood was the receptacle for someone to place bottles of urine. Fascinated by the consistency of this phenomenon, Milton decides to investigate, purchasing a field camera. From there, the adventure spins out into an epic chess match as Milton and the “piss bandit” engage in a battle of wits, with myriad twists and turns. Milton documents the investigation concurrently on social media, and it became a sensation, attracting spellbound fans online and coverage on local news and in the LA Times.Director Derek Milton (R) with producer Grant Yansura, as they investigate the mysterious appearance of bottles of urine.I don’t know if this film will be the one to propel Milton’s name to top-bill status, but he deserves a shot. Piss Saga is his third Short of the Week selection, and in it he returns to the same, self-narrated, deliberately lo-fi production that first caught our attention with Getting a Grammy. While different in style and preoccupations, Milton’s comedic, autobiographical stories remind me of another favorite of mine, John Wilson, who also emerged from short films. The two combine self-shot, voice-over documentary into “comedy” via a flat, matter-of-fact joke style. In fact, Milton can be considered something of a cross between Wilson and his HBO TV producer and mentor, Nathan Fielder, as both Getting a Grammy and Piss Saga rely on a very Fielder-esque move of pushing a gag beyond all sense of reason.However, because it’s not scripted, Milton and his producing partner, Grant Yansura, fly without a net, and it will be an open question to you as to whether they can land the plane. As the notoriety of the story grows with professional media coverage, the ability for the investigation to continue is compromised, and at 30min one’s investment in the story is not trivial. Still, the sheer improbability of it and the humorous aggrandizement never cease to charm. Milton is a one-of-a-kind, and he has polished his onscreen presence to nothing short of captivating. There is a propulsive rhythm to the piece, a fast-paced “what’s next” that pushes you forward without ever crossing into manic territory.Milton is not fully in control of the story but is, undoubtedly, now a master storyteller. Whatever lingering doubts we had with Getting a Grammy were cleared up with the phenomenally accomplished and criminally underrated short, Pussybaby, which Milton is currently adapting to a feature. Milton proved he could do “straight” cinema with that film, and there is probably more potential for him in that. But, with Getting a Grammy and Piss Saga he has cultivated a style that is more rare and unique. I hope we’ll continue to receive more in this vein, too.