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This 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, taking place largely 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; through his lens Christmas tree lights blink like police lights. But in its own low-key way, he pitches his film perfectly for a little squeeze of festive warmth.

The Jaded Seller in the Brooklyn Cold

Kentucker Audley portrays Noel (it took someone in the film to joke about his name before I twigged). Noel is back 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 on the night shift.

There’s an observational quality to a lot of the scenes, with customers asking idle and peculiar questions. One woman requests the same Christmas tree as the Obamas (the story is set in 2014). Noel looks numb with cold in body and spirit; he’s weary and disillusioned, though Audley’s subtle performance makes it clear that he wasn’t always like this.

Understated Encounters and Glimmers 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 reappears later in truly poignant scenes as Noel travels through New York, delivering trees – and these sequences 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 – it is unmatched for naturalness and ease, and it’s filmed on gorgeously textured 16mm film.

The picture of quiet appeal and real mood, capturing the loneliness and brief warmth of the season.

Christmas, Again arrives in UK cinemas from 12 December.