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The is a New York drama so laidback that it has taken a decade to reach 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, set almost entirely on a 24-hour pop-up Christmas tree stall. Poekel’s style remains decidedly genuinely independent and unaffected to get 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 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 selling Christmas trees in Brooklyn, working outdoors in the freezing cold and resting in a not-much-warmer caravan stationed beside the trees. A few customers ask about the girl assisting him last year. But this year Noel works solo, broken-hearted and working the night shift.

There’s a documentary feel to a lot of the scenes, with customers asking pointless random questions. One woman wants 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 hadn't always been like this.

Quiet Moments and Flickers of Connection

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 some genuinely moving scenes as Noel drives around New York, delivering trees – and these moments could spark a small glimmer of good cheer in the grinchiest of hearts. Poekel hasn’t made a feature since this, which is a shame – you can’t beat it for authenticity and fluidity, and it’s filmed on gorgeously textured 16mm film.

The film of quiet charm and real atmosphere, portraying the solitude and fleeting warmth of the holidays.

Christmas, Again arrives in UK cinemas from 12 December.