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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 an ultra-low-budget debut from debut filmmaker Charles Poekel, set almost entirely on a 24-hour pop-up Christmas tree stall. Poekel’s style remains decidedly authentic-indie and naturalistic to get slushy or sentimental about Christmas; through his lens Christmas tree lights flash like police lights. But in its own low-key way, he pitches his film perfectly for a modest dose of festive warmth.

The Jaded Seller in the Brooklyn Cold

Kentucker Audley portrays Noel (someone had in the film to joke about his name before I twigged). Noel is back for his fifth year selling Christmas trees in Brooklyn, working outdoors in the freezing cold and sleeping in a barely warmer caravan stationed beside the trees. Several patrons ask about the girl working with 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 posing pointless random questions. One woman requests 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 weary and disillusioned, though Audley’s understated acting makes it clear that he hadn't always been like this.

Understated Moments and Flickers of Hope

Frankly, not much happens. Noel rescues a woman, Lydia (Hannah Gross), who has passed out drunk on a bench. She reappears later in some genuinely moving scenes as Noel drives around New York, delivering trees – and these moments could ignite a small glimmer of good cheer even in the most cynical viewer. Poekel hasn’t made a feature since this, which is regrettable – you can’t beat it for naturalness and ease, and it’s shot on gorgeously textured 16mm film.

The film of understated charm and authentic mood, capturing the solitude and fleeting warmth of the holidays.

Christmas, Again opens in UK cinemas from 12 December.