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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. Initially unveiled 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 naturalistic 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 perfectly for a modest dose of festive warmth.

A Jaded Seller Amid the Brooklyn Cold

Kentucker Audley portrays Noel (someone had in the film to joke about 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 is alone, broken-hearted and working the night shift.

There’s an observational quality to a lot of the scenes, with customers posing pointless random questions. A customer 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 clearly indicates that he wasn’t always like this.

Quiet Moments and Flickers of Hope

In truth, the plot is minimal. 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 drives around New York, making tree deliveries – and these sequences could spark a little flicker 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 beautifully grainy 16mm film.

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

Christmas, Again opens in UK cinemas from 12 December.