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The is a New York drama so laidback 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 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 flash like police lights. But in its own low-key way, he positions the movie perfectly for a little squeeze of festive warmth.

A Jaded Seller Amid the Brooklyn Cold

Kentucker Audley portrays Noel (someone had in the film to joke about his name before I twigged). Noel returns for his fifth year selling Christmas trees in Brooklyn, standing outside in the freezing cold and resting in a not-much-warmer caravan stationed beside the trees. A few customers ask about the girl assisting him last year. But this year Noel works solo, heartbroken and on the night shift.

There’s a documentary feel to many of the scenes, with customers posing idle and peculiar questions. A customer wants 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 subtle performance clearly indicates that he hadn't always been like this.

Quiet Moments and Glimmers of Hope

In truth, the plot is minimal. Noel comes to the aid of a woman, Lydia (Hannah Gross), who has passed out drunk on a bench. She pops up again later in some genuinely moving scenes as Noel travels through New York, making tree deliveries – 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 a shame – you can’t beat it for naturalness and ease, and it’s filmed on beautifully grainy 16mm film.

A picture of quiet charm and real atmosphere, portraying the solitude and fleeting warmth of the season.

Christmas, Again opens in UK cinemas from 12 December.