The constitutes 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 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 authentic-indie and unaffected 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.
The Weary Seller Amid the Brooklyn Cold
Kentucker Audley stars as Noel (it took someone in the film to comment on his name before I twigged). Noel returns for his fifth year selling Christmas trees in Brooklyn, standing outside in the freezing cold and sleeping in a barely warmer caravan parked next to 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 an observational quality to a lot of the scenes, with customers posing 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 weary and disillusioned, though Audley’s understated acting clearly indicates that he hadn't always been like this.
Understated Encounters and Glimmers of Connection
Frankly, not much happens. Noel comes to the aid of a woman, Lydia (Hannah Gross), who has collapsed drunk on a bench. She reappears later in some genuinely moving scenes as Noel travels through New York, making tree deliveries – 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 – you can’t beat it for naturalness and ease, and it’s shot on beautifully grainy 16mm film.
A picture of quiet charm and real mood, portraying the loneliness and brief connection of the season.
Christmas, Again opens in UK cinemas from 12 December.