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The is a New York drama so laidback that it has taken a decade to arrive on the UK’s cinema screens. First released in the US in 2015, it’s a micro-budget first feature from debut filmmaker Charles Poekel, set almost entirely on a 24-hour pop-up Christmas tree stall. Poekel’s style is far too authentic-indie and unaffected to get slushy or sentimental about Christmas; in his view 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 Amid the Brooklyn Cold

Kentucker Audley stars as Noel (someone had in the film to comment on his name before I twigged). Noel returns for his fifth year selling Christmas trees in Brooklyn, working outdoors in the freezing cold and resting in a not-much-warmer caravan stationed beside 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 an observational quality to a lot of the scenes, with customers posing idle and peculiar questions. One woman wants the same Christmas tree as the Obamas (the story is set in 2014). Noel looks frozen to the bone in body and spirit; he’s exhausted and disenchanted, though Audley’s understated acting makes it clear that he wasn’t always like this.

Understated Moments and Glimmers of Connection

In truth, not much happens. Noel comes to the aid of a woman, Lydia (Hannah Gross), who has collapsed drunk on a bench. She pops up again later in truly poignant scenes as Noel travels through 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 a shame – it is unmatched for authenticity and fluidity, and it’s filmed on gorgeously textured 16mm film.

The picture of quiet charm and authentic mood, portraying the solitude and fleeting warmth of the season.

Christmas, Again opens in UK cinemas from 12 December.