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This is a New York drama so laidback that it required 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, taking place largely on a 24-hour pop-up Christmas tree stall. Poekel’s style is far too genuinely independent and unaffected to become slushy or sentimental about Christmas; through his lens Christmas tree lights blink like police lights. But with its subtle approach, he positions the movie perfectly for a little squeeze of festive warmth.

A Weary Seller Amid the Brooklyn Cold

Kentucker Audley portrays Noel (it took someone in the film to joke about his name before I twigged). Noel is back for his fifth year selling Christmas trees in Brooklyn, standing outside in the freezing cold and sleeping in a not-much-warmer caravan parked next to the trees. A few customers ask about the girl working with him last year. But this year Noel is alone, heartbroken and on the night shift.

There’s an observational quality to a lot 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 frozen to the bone physically and emotionally; he’s weary and disillusioned, though Audley’s understated acting makes it clear that he hadn't always been like this.

Quiet Encounters and Glimmers of Connection

In truth, not much happens. 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 travels through New York, delivering trees – and these moments could spark a small glimmer of good cheer in the grinchiest of hearts. Poekel has not directed a feature since this, which is a shame – it is unmatched for naturalness and ease, and it’s shot on gorgeously textured 16mm film.

A film of quiet appeal and authentic atmosphere, portraying the solitude and fleeting connection of the season.

Christmas, Again opens in UK cinemas from 12 December.