The is a New York drama with such a relaxed pace that it has taken a decade to reach the UK’s cinema screens. First released in the US in 2015, it’s an ultra-low-budget debut from first-time director Charles Poekel, taking place largely on a 24-hour pop-up Christmas tree stall. Poekel’s style remains decidedly genuinely independent and naturalistic to get slushy or sentimental about Christmas; through his lens Christmas tree lights blink like police lights. But in its own low-key way, he positions the movie perfectly for a little squeeze of festive warmth.
A Weary Seller Amid the Brooklyn Cold
Kentucker Audley portrays Noel (someone had in the film to comment on his name before I twigged). Noel returns for his fifth year selling Christmas trees in Brooklyn, working outdoors in the freezing cold and resting in a barely 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 a lot of the scenes, with customers asking idle and peculiar questions. One woman wants the same Christmas tree as the Obamas (the story is set in 2014). Noel looks frozen to the bone physically and emotionally; he’s weary and disillusioned, though Audley’s understated acting makes it clear that he hadn't always been like this.
Understated Encounters and Glimmers of Hope
In truth, not much happens. Noel rescues a woman, Lydia (Hannah Gross), who has collapsed drunk on a bench. She reappears later in truly poignant scenes as Noel travels through New York, delivering trees – and these sequences could ignite a small glimmer of good cheer even in the most cynical viewer. 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 film of quiet charm and authentic mood, portraying the solitude and fleeting warmth of the holidays.
Christmas, Again opens in UK cinemas from 12 December.
