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This is a New York drama so laidback that it required a decade to arrive on 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 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 just right for a modest dose of festive warmth.

The Weary Seller in the Brooklyn Cold

Kentucker Audley stars as Noel (someone had in the film to joke about 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 barely warmer caravan stationed beside the trees. Several patrons ask about the girl working with him last year. But this year Noel is alone, broken-hearted and on the night shift.

There’s a documentary feel to many of the scenes, with customers posing idle and peculiar questions. A customer wants the same Christmas tree as the Obamas (the story is set in 2014). Noel looks numb with cold physically and emotionally; he’s exhausted and disenchanted, though Audley’s subtle performance makes it clear that he hadn't always been like this.

Understated Encounters and Glimmers of Hope

Frankly, not much happens. Noel rescues a woman, Lydia (Hannah Gross), who has collapsed drunk on a bench. She pops up again later in truly poignant scenes as Noel drives around New York, making tree deliveries – and these moments could spark a small glimmer of good cheer even in the most cynical viewer. Poekel hasn’t made a feature since this, which is a shame – you can’t beat it for naturalness and ease, and it’s shot on beautifully grainy 16mm film.

The picture of quiet charm and authentic mood, capturing the loneliness and fleeting warmth of the holidays.

Christmas, Again arrives in UK cinemas from 12 December.