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 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 genuinely independent and naturalistic to become slushy or sentimental about Christmas; through his lens Christmas tree lights blink like police lights. But with its subtle approach, he positions the movie just right for a little squeeze of festive warmth.
Kentucker Audley stars as Noel (someone had in the film to joke about his name before I twigged). Noel returns for his fifth year selling Christmas trees in Brooklyn, standing outside in the freezing cold and sleeping in a not-much-warmer caravan stationed beside the trees. A few customers ask about the girl working with him last year. But this year Noel works solo, broken-hearted and working the night shift.
There’s an observational quality to many of the scenes, with customers posing idle and peculiar questions. A customer wants the same Christmas tree as the Obamas (this is 2014). Noel looks frozen to the bone physically and emotionally; he’s exhausted and disenchanted, though Audley’s understated acting makes it clear that he hadn't always been like this.
In truth, the plot is minimal. Noel comes to the aid of 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 sequences could ignite a little flicker 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 shot on gorgeously textured 16mm film.
A film of understated appeal and authentic mood, portraying the solitude and fleeting connection of the holidays.
Christmas, Again opens in UK cinemas from 12 December.