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This is a New York drama with such a relaxed pace that it has taken 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 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 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 just right for a little squeeze of festive warmth.

A Weary Seller in the Brooklyn Cold

Kentucker Audley portrays Noel (it took someone in the film to comment on his name before I twigged). Noel is back 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. Several patrons ask about the girl working with him last year. But this year Noel works solo, broken-hearted and on the night shift.

There’s an observational quality to many of the scenes, with customers asking idle and peculiar questions. A customer wants the same Christmas tree as the Obamas (this is 2014). Noel looks frozen to the bone physically and emotionally; he’s weary and disillusioned, though Audley’s understated acting makes it clear that he wasn’t always like this.

Quiet Encounters and Glimmers of Connection

In truth, not much happens. Noel rescues a woman, Lydia (Hannah Gross), who has passed out drunk on a bench. She reappears later in some genuinely moving scenes as Noel drives around New York, delivering trees – and these moments could ignite a little flicker of good cheer in the grinchiest of hearts. Poekel has not directed a feature since this, which is a shame – it is unmatched for naturalness and ease, and it’s shot on beautifully grainy 16mm film.

The film of quiet appeal and real mood, capturing the solitude and brief connection of the season.

Christmas, Again arrives in UK cinemas from 12 December.