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The is a New York drama so laidback that it required a decade to arrive on the UK’s cinema screens. First released in the US in 2015, it’s a micro-budget first feature from first-time director Charles Poekel, taking place largely on a 24-hour pop-up Christmas tree stall. Poekel’s style is far too 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 pitches his film perfectly for a little squeeze of festive warmth.

A Jaded Seller in 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, working outdoors in the freezing cold and sleeping in a barely warmer caravan stationed beside the trees. Several patrons inquire after the girl working with him last year. But this year Noel works solo, broken-hearted and on the night shift.

There’s an observational quality to many of the scenes, with customers asking idle and peculiar questions. A customer wants the same Christmas tree as the Obamas (this is 2014). Noel looks numb with cold in body and spirit; he’s exhausted and disenchanted, though Audley’s understated acting makes it clear that he hadn't always been like this.

Quiet Encounters and Glimmers of Connection

In truth, not much happens. 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 sequences could ignite a little flicker of good cheer even in the most cynical viewer. Poekel hasn’t made a feature since this, which is a shame – it is unmatched for authenticity and fluidity, and it’s filmed on beautifully grainy 16mm film.

A film of quiet charm and real atmosphere, capturing the loneliness and fleeting connection of the holidays.

Christmas, Again arrives in UK cinemas from 12 December.