The constitutes a New York drama so laidback that it required a decade to arrive on the UK’s cinema screens. First released 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 authentic-indie and naturalistic to become slushy or sentimental about Christmas; through his lens 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 stars as 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 stationed beside the trees. A few customers ask about the girl working with him last year. But this year Noel is alone, heartbroken and on the night shift.
There’s an observational quality to many of the scenes, with customers asking pointless random questions. A customer requests 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 subtle performance clearly indicates that he hadn't always been like this.
Frankly, not much happens. 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 truly poignant scenes as Noel travels through New York, delivering trees – and these sequences could spark a little flicker of good cheer even in the most cynical viewer. Poekel hasn’t made a feature since this, which is a shame – it is unmatched for naturalness and ease, and it’s shot on beautifully grainy 16mm film.
A film of understated charm and authentic atmosphere, capturing the loneliness and fleeting connection of the holidays.
Christmas, Again arrives in UK cinemas from 12 December.
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