This is a New York drama with such a relaxed pace that it required a decade to arrive on the UK’s cinema screens. First released in the US in 2015, it’s an ultra-low-budget debut from debut filmmaker Charles Poekel, taking place largely on a 24-hour pop-up Christmas tree stall. Poekel’s style remains decidedly genuinely independent and naturalistic to become slushy or sentimental about Christmas; in his view Christmas tree lights flash like police lights. But in its own low-key way, he pitches his film perfectly for a little squeeze of festive warmth.
Kentucker Audley portrays Noel (someone had 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 sleeping 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 working the night shift.
There’s a documentary feel to many of the scenes, with customers asking idle and peculiar questions. One woman wants the same Christmas tree as the Obamas (this is 2014). Noel looks numb with cold physically and emotionally; he’s exhausted and disenchanted, though Audley’s understated acting clearly indicates that he hadn't always been like this.
In truth, not much happens. Noel comes to the aid of a woman, Lydia (Hannah Gross), who has collapsed drunk on a bench. She pops up again later in truly poignant scenes as Noel drives around New York, delivering trees – and these sequences could ignite a small glimmer of good cheer in the grinchiest of hearts. Poekel has not directed a feature since this, which is a shame – it is unmatched for naturalness and ease, and it’s filmed on gorgeously textured 16mm film.
The picture of quiet appeal and real atmosphere, capturing the loneliness and fleeting connection of the season.
Christmas, Again opens in UK cinemas from 12 December.
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