The constitutes a New York drama so laidback that it required a decade to reach the UK’s cinema screens. Initially unveiled in the US in 2015, it’s a micro-budget first feature from debut filmmaker Charles Poekel, taking place largely on a 24-hour pop-up Christmas tree stall. Poekel’s style is far too genuinely independent and unaffected 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.
Kentucker Audley stars as Noel (it took someone in the film to comment on his name before I twigged). Noel is back for his fifth year selling Christmas trees in Brooklyn, working outdoors in the freezing cold and sleeping in a barely warmer caravan stationed beside the trees. A few customers ask about the girl working with 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. One woman requests the same Christmas tree as the Obamas (the story is set in 2014). Noel looks numb with cold in body and spirit; he’s weary and disillusioned, though Audley’s subtle performance makes it clear that he wasn’t always like this.
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, making tree deliveries – and these moments could ignite a little flicker of good cheer in the grinchiest of hearts. Poekel has not directed a feature since this, which is regrettable – it is unmatched for naturalness and ease, and it’s filmed on gorgeously textured 16mm film.
A film of quiet appeal and real atmosphere, portraying the loneliness and fleeting warmth of the season.
Christmas, Again arrives in UK cinemas from 12 December.
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