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This is a New York drama so laidback 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, taking place largely 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 just right for a little squeeze of festive warmth.

A Weary Seller in the Brooklyn Cold

Kentucker Audley portrays Noel (someone had in the film to comment on his name before I twigged). Noel is back for his fifth year selling Christmas trees in Brooklyn, standing outside in the freezing cold and resting in a barely warmer caravan stationed beside the trees. A few customers inquire after 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. One woman requests the same Christmas tree as the Obamas (this is 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 hadn't always been like this.

Quiet Moments and Flickers of Hope

In truth, the plot is minimal. Noel comes to the aid of 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 regrettable – you can’t beat it for naturalness and ease, and it’s shot on beautifully grainy 16mm film.

A picture of quiet charm and real mood, portraying the solitude and brief warmth of the holidays.

Christmas, Again arrives in UK cinemas from 12 December.