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The constitutes a New York drama so laidback that it required a decade to reach the UK’s cinema screens. First released in the US in 2015, it’s an ultra-low-budget debut from first-time director Charles Poekel, set almost entirely 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; in his view Christmas tree lights blink like police lights. But in its own low-key way, he positions the movie 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 before I twigged). Noel is back for his fifth year selling 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 works solo, heartbroken and working the night shift.

There’s a documentary feel to many of the scenes, with customers asking pointless random questions. A customer requests 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 subtle performance makes it clear that he wasn’t always like this.

Understated Moments and Flickers of Hope

In truth, the plot is minimal. Noel rescues 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 hasn’t made a feature since this, which is regrettable – it is unmatched for authenticity and fluidity, and it’s shot on beautifully grainy 16mm film.

The film of understated charm and authentic atmosphere, capturing the solitude and fleeting warmth of the holidays.

Christmas, Again opens in UK cinemas from 12 December.