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This constitutes a New York drama so laidback 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 remains decidedly authentic-indie and naturalistic to get 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 little squeeze of festive warmth.

The Jaded Seller Amid the Brooklyn Cold

Kentucker Audley portrays Noel (someone had in the film to comment on his name before I twigged). Noel is back 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, broken-hearted and on the night shift.

There’s an observational quality to many of the scenes, with customers asking pointless random questions. One woman wants the same Christmas tree as the Obamas (the story is set in 2014). Noel looks numb with cold physically and emotionally; he’s exhausted and disenchanted, though Audley’s subtle performance makes it clear that he hadn't always been like this.

Quiet Encounters and Flickers of Connection

Frankly, 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 truly poignant scenes as Noel drives around 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 a shame – it is unmatched for naturalness and ease, and it’s shot on beautifully grainy 16mm film.

A film of quiet charm and real mood, capturing the loneliness and fleeting warmth of the season.

Christmas, Again arrives in UK cinemas from 12 December.