Charles Poekel’s directorial debut has taken a decade to reach the UK, but its indie take on seasonal cinema brings low-key warmth

This is a New York drama so laidback 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, set almost entirely 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 in its own low-key way, he pitches his film just right for a little squeeze of festive warmth.

Kentucker Audley stars as Noel (it took someone in the film to joke about his name before I twigged). Noel is back for his fifth year selling Christmas trees in Brooklyn, standing outside in the freezing cold and sleeping in a not-much-warmer caravan parked next to the trees. A few customers ask about the girl working with him last year. But this year Noel is alone, broken-hearted and working the night shift. There’s a documentary feel to a lot of the scenes, customers asking pointless random questions. One woman wants the same Christmas tree as the Obamas (this is 2014). Noel looks frozen to the bone physically and emotionally; he’s weary and disillusioned, though Audley’s subtle performance makes it clear that he wasn’t always like this.

Charles Poekel’s directorial debut has taken a decade to reach the UK, but its indie take on seasonal cinema brings low-key warmth

This is a New York drama so laidback 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, set almost entirely 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 in its own low-key way, he pitches his film just right for a little squeeze of festive warmth.

Kentucker Audley stars as Noel (it took someone in the film to joke about his name before I twigged). Noel is back for his fifth year selling Christmas trees in Brooklyn, standing outside in the freezing cold and sleeping in a not-much-warmer caravan parked next to the trees. A few customers ask about the girl working with him last year. But this year Noel is alone, broken-hearted and working the night shift. There’s a documentary feel to a lot of the scenes, customers asking pointless random questions. One woman wants the same Christmas tree as the Obamas (this is 2014). Noel looks frozen to the bone physically and emotionally; he’s weary and disillusioned, though Audley’s subtle performance makes it clear that he wasn’t always like this.

Charles Poekel’s directorial debut has taken a decade to reach the UK, but its indie take on seasonal cinema brings low-key warmth

This is a New York drama so laidback 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, set almost entirely 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 in its own low-key way, he pitches his film just right for a little squeeze of festive warmth.

Kentucker Audley stars as Noel (it took someone in the film to joke about his name before I twigged). Noel is back for his fifth year selling Christmas trees in Brooklyn, standing outside in the freezing cold and sleeping in a not-much-warmer caravan parked next to the trees. A few customers ask about the girl working with him last year. But this year Noel is alone, broken-hearted and working the night shift. There’s a documentary feel to a lot of the scenes, customers asking pointless random questions. One woman wants the same Christmas tree as the Obamas (this is 2014). Noel looks frozen to the bone physically and emotionally; he’s weary and disillusioned, though Audley’s subtle performance makes it clear that he wasn’t always like this.