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This constitutes a New York drama with such a relaxed pace that it has taken a decade to arrive on 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 authentic-indie 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 pitches his film perfectly for a modest dose of festive warmth.

The Weary Seller in the Brooklyn Cold

Kentucker Audley stars as Noel (it took someone in the film to joke about his name for the connection to be made). Noel returns for his fifth year peddling Christmas trees in Brooklyn, working outdoors in the freezing cold and resting in a not-much-warmer caravan parked next to the trees. A few customers ask about the girl assisting him last year. But this year Noel is alone, heartbroken and on the night shift.

There’s a documentary feel to many 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 exhausted and disenchanted, though Audley’s understated acting makes it clear that he wasn’t always like this.

Understated Moments and Flickers of Connection

Frankly, not much happens. Noel rescues a woman, Lydia (Hannah Gross), who has collapsed drunk on a bench. She reappears later in some genuinely moving scenes as Noel travels through New York, delivering trees – 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 – you can’t beat it for naturalness and ease, and it’s shot on gorgeously textured 16mm film.

The film of quiet appeal and authentic mood, capturing the solitude and fleeting connection of the holidays.

Christmas, Again opens in UK cinemas from 12 December.