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The constitutes a New York drama so laidback that it has taken a decade to reach the UK’s cinema screens. Initially unveiled in the US in 2015, it’s a micro-budget first feature from first-time director Charles Poekel, taking place largely on a 24-hour pop-up Christmas tree stall. Poekel’s style remains decidedly authentic-indie and naturalistic to become slushy or sentimental about Christmas; through his lens Christmas tree lights flash like police lights. But with its subtle approach, he pitches his film perfectly for a modest dose of festive warmth.

A Weary Seller in the Brooklyn Cold

Kentucker Audley stars as Noel (someone had in the film to comment on his name before I twigged). Noel is back for his fifth year peddling Christmas trees in Brooklyn, standing outside in the freezing cold and sleeping in a not-much-warmer caravan parked next to the trees. Several patrons ask about the girl working with him last year. But this year Noel is alone, heartbroken and working the night shift.

There’s a documentary feel to a lot of the scenes, with customers posing pointless random questions. One woman wants the same Christmas tree as the Obamas (this is 2014). Noel looks frozen to the bone in body and spirit; he’s weary and disillusioned, though Audley’s subtle performance clearly indicates that he wasn’t always like this.

Understated Moments and Flickers of Hope

In truth, the plot is minimal. Noel rescues a woman, Lydia (Hannah Gross), who has collapsed drunk on a bench. She reappears later in some genuinely moving scenes as Noel drives around New York, making tree deliveries – and these sequences could ignite a small glimmer of good cheer in the grinchiest of hearts. Poekel hasn’t made a feature since this, which is regrettable – you can’t beat it for naturalness and ease, and it’s filmed on gorgeously textured 16mm film.

A picture of understated charm and authentic atmosphere, capturing the loneliness and brief warmth of the holidays.

Christmas, Again opens in UK cinemas from 12 December.