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This constitutes a New York drama so laidback that it required 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 is far too authentic-indie and naturalistic to become slushy or sentimental about Christmas; through his lens Christmas tree lights blink like police lights. But in its own low-key way, he pitches his film perfectly for a modest dose of festive warmth.

A Weary Seller in the Brooklyn Cold

Kentucker Audley portrays Noel (someone had in the film to joke about his name before I twigged). Noel is back for his fifth year peddling Christmas trees in Brooklyn, standing outside in the freezing cold and resting in a not-much-warmer caravan stationed beside the trees. Several patrons ask about the girl assisting him last year. But this year Noel is alone, heartbroken and on the night shift.

There’s an observational quality 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 frozen to the bone physically and emotionally; he’s weary and disillusioned, though Audley’s subtle performance clearly indicates that he hadn't always been like this.

Understated Moments and Glimmers of Hope

Frankly, not much happens. Noel rescues a woman, Lydia (Hannah Gross), who has passed out drunk on a bench. She reappears later in some genuinely moving scenes as Noel travels through New York, delivering trees – and these moments could ignite a small glimmer of good cheer in the grinchiest of hearts. Poekel hasn’t made a feature since this, which is regrettable – it is unmatched for naturalness and ease, and it’s shot on gorgeously textured 16mm film.

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

Christmas, Again opens in UK cinemas from 12 December.