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This constitutes a New York drama so laidback that it required a decade to reach the UK’s cinema screens. Initially unveiled 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 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 in its own low-key way, he pitches his film just right for a modest dose of festive warmth.

A Weary Seller Amid 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, standing outside in the freezing cold and sleeping in a barely warmer caravan parked next to the trees. Several patrons inquire after the girl assisting him last year. But this year Noel is alone, heartbroken and working 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 (this is 2014). Noel looks numb with cold physically and emotionally; he’s exhausted and disenchanted, though Audley’s subtle performance makes it clear that he wasn’t always like this.

Understated Encounters and Flickers of Hope

In truth, 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 travels through New York, delivering trees – and these moments could spark a small glimmer of good cheer even in the most cynical viewer. Poekel hasn’t made a feature since this, which is a shame – it is unmatched for naturalness and ease, and it’s shot on beautifully grainy 16mm film.

The picture of quiet appeal and authentic atmosphere, portraying the loneliness and brief warmth of the holidays.

Christmas, Again arrives in UK cinemas from 12 December.