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The constitutes a New York drama so laidback that it has taken a decade to reach 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, taking place largely on a 24-hour pop-up Christmas tree stall. Poekel’s style is far too genuinely independent and unaffected to become slushy or sentimental about Christmas; through his lens Christmas tree lights blink like police lights. But with its subtle approach, he pitches his film just right for a modest dose of festive warmth.

A Weary Seller in the Brooklyn Cold

Kentucker Audley stars as Noel (it took someone in the film to joke about his name for the connection to be made). Noel returns for his fifth year selling Christmas trees in Brooklyn, working outdoors in the freezing cold and sleeping in a barely warmer caravan stationed beside the trees. A few customers ask about the girl assisting him last year. But this year Noel works solo, heartbroken 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 (this is 2014). Noel looks numb with cold in body and spirit; he’s weary and disillusioned, though Audley’s understated acting makes it clear that he wasn’t always like this.

Quiet Moments and Flickers of Connection

Frankly, not much happens. 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, making tree deliveries – and these sequences 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 – you can’t beat it for naturalness and ease, and it’s shot on gorgeously textured 16mm film.

The picture of quiet appeal and authentic mood, capturing the loneliness and fleeting warmth of the season.

Christmas, Again opens in UK cinemas from 12 December.