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The is a New York drama with such a relaxed pace that it has taken a decade to reach the UK’s cinema screens. Initially unveiled in the US in 2015, it’s an ultra-low-budget debut from first-time director Charles Poekel, set almost entirely on a 24-hour pop-up Christmas tree stall. Poekel’s style is far too genuinely independent and naturalistic 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 little squeeze of festive warmth.

The Jaded Seller Amid the Brooklyn Cold

Kentucker Audley portrays Noel (it took someone in the film to joke about his name for the connection to be made). Noel is back for his fifth year peddling Christmas trees in Brooklyn, standing outside in the freezing cold and resting in a barely warmer caravan stationed beside the trees. Several patrons ask about the girl assisting him last year. But this year Noel works solo, heartbroken and on the night shift.

There’s an observational quality to many of the scenes, with customers asking idle and peculiar questions. A customer requests the same Christmas tree as the Obamas (this is 2014). Noel looks numb with cold in body and spirit; he’s weary and disillusioned, though Audley’s understated acting makes it clear 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 pops up again later in truly poignant scenes as Noel drives around New York, making tree deliveries – and these moments could ignite a small glimmer of good cheer in the grinchiest of hearts. Poekel hasn’t made a feature since this, which is regrettable – it is unmatched for authenticity and fluidity, and it’s filmed on beautifully grainy 16mm film.

A film of quiet appeal and real mood, portraying the solitude and brief connection of the season.

Christmas, Again arrives in UK cinemas from 12 December.