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This constitutes a New York drama with such a relaxed pace that it has taken a decade to reach the UK’s cinema screens. First released 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 unaffected to get slushy or sentimental about Christmas; through his lens Christmas tree lights blink like police lights. But with its subtle approach, he positions the movie perfectly for a little squeeze of festive warmth.

The Weary Seller Amid the Brooklyn Cold

Kentucker Audley stars as Noel (it took someone in the film to joke about his name before I twigged). Noel is back for his fifth year peddling Christmas trees in Brooklyn, working outdoors in the freezing cold and resting in a not-much-warmer caravan parked next to the trees. A few customers inquire after the girl assisting him last year. But this year Noel works solo, heartbroken and on the night shift.

There’s a documentary feel to many of the scenes, with customers posing idle and peculiar questions. A customer requests 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 understated acting makes it clear that he hadn't always been like this.

Quiet Moments and Glimmers of Hope

In truth, the plot is minimal. Noel rescues a woman, Lydia (Hannah Gross), who has passed out drunk on a bench. She reappears later in some genuinely moving scenes as Noel travels through New York, making tree deliveries – and these moments could ignite a little flicker 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 beautifully grainy 16mm film.

The picture of quiet appeal and authentic atmosphere, portraying the solitude and fleeting connection of the season.

Christmas, Again arrives in UK cinemas from 12 December.