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This constitutes a New York drama so laidback 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 first-time director 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 perfectly for a modest dose of festive warmth.

A Weary 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 is back for his fifth year peddling Christmas trees in Brooklyn, working outdoors in the freezing cold and sleeping in a not-much-warmer caravan stationed beside the trees. Several patrons ask about the girl working with him last year. But this year Noel is alone, heartbroken and working the night shift.

There’s a documentary feel to a lot of the scenes, with customers posing idle and peculiar 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 exhausted and disenchanted, though Audley’s understated acting makes it clear that he wasn’t always like this.

Quiet Encounters and Flickers of Hope

Frankly, the plot is minimal. Noel comes to the aid of a woman, Lydia (Hannah Gross), who has passed out drunk on a bench. She pops up again later in truly poignant scenes as Noel travels through New York, delivering trees – and these moments could spark a little flicker of good cheer in the grinchiest of hearts. Poekel has not directed a feature since this, which is regrettable – it is unmatched for naturalness and ease, and it’s filmed on gorgeously textured 16mm film.

The film of quiet charm and real mood, portraying the solitude and brief connection of the season.

Christmas, Again opens in UK cinemas from 12 December.