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The 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 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 genuinely independent and naturalistic to get slushy or sentimental about Christmas; in his view Christmas tree lights flash like police lights. But in its own low-key way, he positions the movie just right for a little squeeze of festive warmth.

A Weary Seller in the Brooklyn Cold

Kentucker Audley stars as Noel (it took someone in the film to joke about his name before I twigged). Noel returns for his fifth year selling 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 inquire after the girl working with him last year. But this year Noel is alone, heartbroken and working the night shift.

There’s a documentary feel to a lot of the scenes, with customers asking pointless random 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 exhausted and disenchanted, though Audley’s understated acting makes it clear that he wasn’t always like this.

Quiet Encounters and Flickers of Hope

In truth, the plot is minimal. Noel comes to the aid of a woman, Lydia (Hannah Gross), who has collapsed drunk on a bench. She pops up again later in some genuinely moving scenes as Noel drives around 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 regrettable – you can’t beat it for authenticity and fluidity, and it’s filmed on gorgeously textured 16mm film.

A film of quiet charm and authentic atmosphere, capturing the solitude and brief connection of the holidays.

Christmas, Again opens in UK cinemas from 12 December.