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The is a New York drama so laidback that it has taken a decade to arrive on the UK’s cinema screens. First released 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 remains decidedly authentic-indie and unaffected to become slushy or sentimental about Christmas; in his view Christmas tree lights blink like police lights. But in its own low-key way, he positions the movie perfectly for a little squeeze of festive warmth.

A Weary Seller Amid the Brooklyn Cold

Kentucker Audley stars as Noel (someone had in the film to comment on his name before I twigged). Noel returns for his fifth year peddling Christmas trees in Brooklyn, standing outside in the freezing cold and sleeping in a not-much-warmer caravan stationed beside the trees. A few customers inquire after the girl assisting him last year. But this year Noel is alone, broken-hearted and on the night shift.

There’s an observational quality to a lot of the scenes, with customers asking pointless random questions. A customer 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 understated acting clearly indicates that he hadn't always been like this.

Understated Moments and Glimmers 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 reappears later in truly poignant scenes as Noel travels through New York, making tree deliveries – and these moments could ignite a little flicker of good cheer even in the most cynical viewer. Poekel hasn’t made a feature since this, which is regrettable – it is unmatched for naturalness and ease, and it’s filmed on beautifully grainy 16mm film.

The picture of quiet appeal and authentic mood, portraying the solitude and brief warmth of the season.

Christmas, Again opens in UK cinemas from 12 December.