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This is a New York drama so laidback that it has taken a decade to reach the UK’s cinema screens. Initially unveiled in the US in 2015, it’s an ultra-low-budget debut from debut filmmaker Charles Poekel, set almost entirely on a 24-hour pop-up Christmas tree stall. Poekel’s style remains decidedly authentic-indie and naturalistic to become slushy or sentimental about Christmas; in his view Christmas tree lights flash like police lights. But with its subtle approach, he pitches his film just right for a modest dose of festive warmth.

A Weary Seller in the Brooklyn Cold

Kentucker Audley stars as Noel (someone had 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, standing outside in the freezing cold and sleeping in a not-much-warmer caravan stationed beside the trees. Several patrons inquire after the girl working with him last year. But this year Noel works solo, heartbroken and on the night shift.

There’s a documentary feel 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.

Quiet Encounters and Glimmers of Connection

In truth, the plot is minimal. Noel rescues a woman, Lydia (Hannah Gross), who has collapsed drunk on a bench. She pops up again 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 hasn’t made a feature since this, which is regrettable – you can’t beat it for naturalness and ease, and it’s filmed on beautifully grainy 16mm film.

The picture of quiet charm and real mood, portraying the solitude and fleeting warmth of the holidays.

Christmas, Again opens in UK cinemas from 12 December.