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This is a New York drama with such a relaxed pace that it has taken a decade to reach the UK’s cinema screens. First released in the US in 2015, it’s a micro-budget first feature from debut filmmaker Charles Poekel, set almost entirely on a 24-hour pop-up Christmas tree stall. Poekel’s style is far too genuinely independent and unaffected to get slushy or sentimental about Christmas; through his lens Christmas tree lights flash like police lights. But in its own low-key way, he pitches his film just right for a little squeeze of festive warmth.

A Jaded Seller Amid the Brooklyn Cold

Kentucker Audley portrays Noel (it took someone in the film to comment on 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 resting in a barely warmer caravan parked next to the trees. A few customers ask about the girl working with him last year. But this year Noel is alone, broken-hearted 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 (the story is set in 2014). Noel looks frozen to the bone in body and spirit; he’s weary and disillusioned, though Audley’s subtle performance makes it clear that he wasn’t always like this.

Quiet Moments and Flickers of Hope

In truth, not much happens. Noel rescues a woman, Lydia (Hannah Gross), who has collapsed drunk on a bench. She pops up again later in truly poignant scenes as Noel travels through New York, making tree deliveries – and these sequences could spark a little flicker of good cheer even in the most cynical viewer. Poekel has not directed a feature since this, which is regrettable – it is unmatched for naturalness and ease, and it’s shot on beautifully grainy 16mm film.

The film of understated appeal and real mood, capturing the solitude and brief connection of the holidays.

Christmas, Again opens in UK cinemas from 12 December.