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 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 genuinely independent and naturalistic 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 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 is back for his fifth year selling Christmas trees in Brooklyn, working outdoors in the freezing cold and resting in a not-much-warmer caravan stationed beside the trees. A few customers inquire after the girl assisting him last year. But this year Noel is alone, broken-hearted and on the night shift.
There’s an observational quality to many of the scenes, with customers asking idle and peculiar questions. A customer requests the same Christmas tree as the Obamas (this is 2014). Noel looks frozen to the bone in body and spirit; 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 passed out drunk on a bench. She reappears later in truly poignant scenes as Noel travels through New York, making tree deliveries – and these moments could spark a small glimmer of good cheer in the grinchiest of hearts. Poekel hasn’t made a feature since this, which is regrettable – it is unmatched for authenticity and fluidity, and it’s shot on beautifully grainy 16mm film.
A film of quiet charm and real atmosphere, portraying the loneliness and fleeting connection of the season.
Christmas, Again opens in UK cinemas from 12 December.
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