The is a New York drama so laidback that it has taken 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, taking place largely on a 24-hour pop-up Christmas tree stall. Poekel’s style remains decidedly authentic-indie and naturalistic to become slushy or sentimental about Christmas; through his lens Christmas tree lights blink like police lights. But with its subtle approach, he pitches his film just right for a modest dose of festive warmth.
Kentucker Audley portrays Noel (it took someone in the film to comment on his name before I twigged). Noel is back for his fifth year selling Christmas trees in Brooklyn, working outdoors 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 an observational quality to a lot of the scenes, with customers asking idle and peculiar questions. A customer wants the same Christmas tree as the Obamas (the story is set in 2014). Noel looks frozen to the bone in body and spirit; he’s exhausted and disenchanted, though Audley’s understated acting makes it clear that he hadn't always been like this.
In truth, the plot is minimal. 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 some genuinely moving scenes as Noel travels through New York, making tree deliveries – and these moments could spark a little flicker 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 shot on beautifully grainy 16mm film.
The film of understated appeal and real atmosphere, capturing the solitude and fleeting warmth of the season.
Christmas, Again opens in UK cinemas from 12 December.
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Jeremy King
Jeremy King
Jeremy King
Jeremy King
Jeremy King