With a sharp eye and saturated colours, Parr’s photographs revealed the world in all its eccentric glory. Here, his friends, peers and collaborators pay tribute to a master

Grayson Perry , artist
I’ve never really been a fanboy, but the first time I saw Martin Parr I ran up and drunkenly hugged him. I said: “I love you Martin Parr!” I couldn’t help it. He was a hero of mine. And over the years he became my best artist friend.

With a sharp eye and saturated colours, Parr’s photographs revealed the world in all its eccentric glory. Here, his friends, peers and collaborators pay tribute to a master

Grayson Perry , artist
I’ve never really been a fanboy, but the first time I saw Martin Parr I ran up and drunkenly hugged him. I said: “I love you Martin Parr!” I couldn’t help it. He was a hero of mine. And over the years he became my best artist friend.

With a sharp eye and saturated colours, Parr’s photographs revealed the world in all its eccentric glory. Here, his friends, peers and collaborators pay tribute to a master

Grayson Perry , artist
I’ve never really been a fanboy, but the first time I saw Martin Parr I ran up and drunkenly hugged him. I said: “I love you Martin Parr!” I couldn’t help it. He was a hero of mine. And over the years he became my best artist friend.

Accounts held by users under 16 must be removed on apps that include TikTok, Facebook, Instagram, X, YouTube, Snapchat, Reddit, Kick, Twitch and Threads under ban

• How is Australia’s social media ban affecting you and your family?

• Get our breaking news email , free app or daily news podcast

Australia has enacted a world-first ban on social media for users aged under 16 , causing millions of children and teenagers to lose access to their accounts.

Facebook, Instagram, Threads, X, YouTube, Snapchat, Reddit, Kick, Twitch and TikTok are expected to have taken steps from Wednesday to remove accounts held by users under 16 years of age in Australia, and prevent those teens from registering new accounts.

Accounts held by users under 16 must be removed on apps that include TikTok, Facebook, Instagram, X, YouTube, Snapchat, Reddit, Kick, Twitch and Threads under ban

• How is Australia’s social media ban affecting you and your family?

• Get our breaking news email , free app or daily news podcast

Australia has enacted a world-first ban on social media for users aged under 16 , causing millions of children and teenagers to lose access to their accounts.

Facebook, Instagram, Threads, X, YouTube, Snapchat, Reddit, Kick, Twitch and TikTok are expected to have taken steps from Wednesday to remove accounts held by users under 16 years of age in Australia, and prevent those teens from registering new accounts.

Accounts held by users under 16 must be removed on apps that include TikTok, Facebook, Instagram, X, YouTube, Snapchat, Reddit, Kick, Twitch and Threads under ban

• How is Australia’s social media ban affecting you and your family?

• Get our breaking news email , free app or daily news podcast

Australia has enacted a world-first ban on social media for users aged under 16 , causing millions of children and teenagers to lose access to their accounts.

Facebook, Instagram, Threads, X, YouTube, Snapchat, Reddit, Kick, Twitch and TikTok are expected to have taken steps from Wednesday to remove accounts held by users under 16 years of age in Australia, and prevent those teens from registering new accounts.

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.