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This is a New York drama so laidback that it has taken a decade to reach the UK’s cinema screens. Initially unveiled 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 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 in its own low-key way, he positions the movie perfectly for a modest dose of festive warmth.

The Weary Seller in the Brooklyn Cold

Kentucker Audley portrays Noel (it took someone 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 resting in a barely warmer caravan parked next to the trees. Several patrons ask about the girl assisting him last year. But this year Noel is alone, broken-hearted and working the night shift.

There’s a documentary feel to many of the scenes, with customers posing pointless random questions. One woman wants the same Christmas tree as the Obamas (the story is set in 2014). Noel looks numb with cold physically and emotionally; he’s weary and disillusioned, though Audley’s subtle performance clearly indicates that he hadn't always been like this.

Quiet Moments and Flickers of Hope

In truth, not much happens. 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 travels through New York, delivering trees – and these moments could spark a small glimmer of good cheer even in the most cynical viewer. Poekel has not directed a feature since this, which is a shame – it is unmatched for naturalness and ease, and it’s shot on gorgeously textured 16mm film.

The picture of quiet charm and authentic mood, capturing the loneliness and brief connection of the holidays.

Christmas, Again opens in UK cinemas from 12 December.