This 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 debut filmmaker Charles Poekel, set almost entirely on a 24-hour pop-up Christmas tree stall. Poekel’s style remains decidedly genuinely independent and unaffected to become slushy or sentimental about Christmas; through his lens Christmas tree lights blink like police lights. But with its subtle approach, he positions the movie perfectly for a modest dose of festive warmth.
Kentucker Audley stars as Noel (someone had in the film to comment on his name for the connection to be made). Noel is back for his fifth year peddling Christmas trees in Brooklyn, working outdoors in the freezing cold and sleeping in a not-much-warmer caravan stationed beside the trees. Several patrons inquire after 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 a lot of the scenes, with customers asking idle and peculiar questions. A customer requests the same Christmas tree as the Obamas (the story is set in 2014). Noel looks numb with cold in body and spirit; he’s weary and disillusioned, though Audley’s understated acting clearly indicates that he wasn’t always 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 pops up again later in truly poignant scenes as Noel travels through New York, making tree deliveries – and these moments could spark a little flicker 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 authenticity and fluidity, and it’s shot on beautifully grainy 16mm film.
The picture of understated charm and real mood, capturing the loneliness and fleeting warmth of the season.
Christmas, Again opens in UK cinemas from 12 December.
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