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The constitutes a New York drama with such a relaxed pace that it required a decade to reach the UK’s cinema screens. First released in the US in 2015, it’s a micro-budget first feature 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; in his view Christmas tree lights flash like police lights. But with its subtle approach, he positions the movie perfectly for a little squeeze of festive warmth.

The Jaded Seller in the Brooklyn Cold

Kentucker Audley portrays Noel (someone had in the film to comment on his name for the connection to be made). Noel returns for his fifth year peddling Christmas trees in Brooklyn, working outdoors 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, heartbroken and working the night shift.

There’s a documentary feel to a lot of the scenes, with customers asking pointless random questions. One woman wants the same Christmas tree as the Obamas (the story is set in 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 Encounters and Flickers of Hope

Frankly, the plot is minimal. Noel rescues a woman, Lydia (Hannah Gross), who has collapsed drunk on a bench. She reappears later in truly poignant scenes as Noel travels through New York, delivering trees – and these moments could spark a small glimmer of good cheer even in the most cynical viewer. Poekel hasn’t made a feature since this, which is regrettable – you can’t beat it for authenticity and fluidity, and it’s shot on beautifully grainy 16mm film.

A picture of quiet appeal and authentic mood, capturing the solitude and fleeting connection of the holidays.

Christmas, Again opens in UK cinemas from 12 December.