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The constitutes a New York drama so laidback that it required 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, taking place largely on a 24-hour pop-up Christmas tree stall. Poekel’s style is far too genuinely independent and naturalistic to become slushy or sentimental about Christmas; in his view Christmas tree lights blink like police lights. But with its subtle approach, he pitches his film just right for a little squeeze of festive warmth.

A Weary Seller in the Brooklyn Cold

Kentucker Audley portrays Noel (someone had in the film to comment on his name for the connection to be made). Noel returns 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 working with him last year. But this year Noel is alone, heartbroken and on the night shift.

There’s an observational quality to a lot 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 frozen to the bone 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 Hope

Frankly, 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 truly poignant scenes as Noel drives around New York, making tree deliveries – 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 – it is unmatched for authenticity and fluidity, and it’s filmed on gorgeously textured 16mm film.

The picture of understated appeal and authentic mood, portraying the loneliness and brief connection of the holidays.

Christmas, Again opens in UK cinemas from 12 December.