christmas , again
“christmas, again” is not rated. running time: 1 hour 20 minutes .
christmas, again becomes the kind of christmas movie not very common anymore. one lacking in cynicism and irony .
“christmas, again” premiered this week at the locarno film festival. it does not currently have distribution .
christmas, again
captures something ineffably moving about the holiday grind, as depicted in the life of a seasonal christmas tree seller .
there are no featured audience reviews yet. click the link below to see what others say about christmas, again !
plot never totally dominates' christmas, again,' which is largely a collection of moments, all about the grind of living in this particular skin .
the traditional holiday movie builds towards some climactic takeaway: a troubled character finds new value through the convenience of the christmas spirit. “ christmas, again, ” the bittersweet debut from writer - director charles poekel, is a welcome deviation from that tendency .
the title christmas, again says it all, really. in charles poekel’s directorial debut, christmas is less of a joyous holiday and more of a hurdle to jump over. at least that’s what it’s like for noel (kentucker audley), a christmas tree salesman in new york city working the night shift. poekel isn’t cheery or sentimental in his approach, but he also doesn’t make his film an exercise in misery. with a low - key, melancholy tone throughout, christmas, again pleasantly goes against expectations, winding up as a minor, well - observed character study .
yet another indie christmas - themed film thickly coated with an overall sense of bah humbug. even the film’s title suggests a feeling of irritation towards the recent influx of holiday melancholy over the years. however, first - time writer / director charles poekel’s christmas, again reverses the trend with an uplifting tale of one man’s emotional turnaround at the hands of some old - fashioned christmas spirit .
despite its melancholy aura, however, christmas, again still manages to paint the holidays as a magical time. new york may be gloomy here, but the image of noel standing against some traditional colored bulbs should make anyone nostalgic for the childlike wonder that always accompanied christmas. a third act trip to drop off and set up trees on christmas eve delivers even more glad tidings; during this sequence, we’re treated to scenes that find new york’s young and old finding delight in nothing more simple than a 6’ balsam fir. because, ultimately, christmas, again is about finding joy in the simple things after years of living with complicated ones. to have a happy christmas, sometimes all you need is a gift and the warmth of a companion well met .
as yuletide offerings go, charles poekel’s “christmas, again” might as well be called “it’s a so - so life” — a downbeat but never outright depressing reminder that the holidays tend to look a lot less jolly from the vantage of those peddling christmas cheer. whereas david sedaris made the same point with considerably more wit in “the [ … ]
a heartbroken christmas tree salesman returns to new york city to put his past behind him .
though not outwardly comedic in tone, “christmas, again” does offer an amusing critique of holiday cheer. as noel makes house calls, awkwardly lugging trees into a variety of homes throughout the city, his clients barely notice his presence — but we do. both pitiable and amusing, he’s like the ghost of christmas present for an age of ambivalence .
noel, who lives in a trailer, one night takes in a young woman, lydia (hannah gross), who has passed out on a bench. whether these two might provide some comfort for each other is the closest that “christmas, again” comes to having a plot .
nicely done indie film about loss, might just be the most finely tuned melancholy christmas film ever .
noel (kentucker audley), the appropriately named protagonist of “ christmas, again, ” approaches the holiday season more as he would a duty than an occasion for good cheer. for a brief period each year, he ventures from upstate new york to greenpoint, brooklyn, to sell christmas trees. he stands stoically while customers snap pictures of the firs on their cellphones or pepper him with questions about different evergreens .
christmas, again tells the story of noel, a young man who travels from upstate ny every year to sell christmas trees in new york city. returning without the help of his long - time girlfriend, this year noel finds it impossible to do the one thing he knows so well - - - sell christmas trees. as noel begins to spiral downwards, alienating co - workers and customers in the process, it turns out this same community of people may be the only ones capable of saving noel from self - destruction .
shot on grainy 16mm by cinematographer sean price williams (“listen up phillip”), “christmas, again” offers the unique pairing of vibrant holiday colors with a foundation of gritty realism built around its impressive lead performance. the character is himself a contrast to his surroundings — a low energy sad sack named, of all things, noel .
it' s interesting to note that poekel sold christmas trees for five years to get the money to finance the film .
the lead character of
christmas, again
is named noel (kentucker audley) —too cutesy a name to be believed, but it' s skipped over like a pebble jumping across a pond. noel spends most of his year working construction
upstate
but every christmas time, he is one of those guys you see on almost every corner in new york, selling christmas trees (plus wreaths, stands and lights). it' s seasonal work, and post - christmas, those guys vanish suddenly and then re - appear the next year. poekel himself worked this seasonal job, and the film is great in showing how it all operates. noel works the night - shift and oversees his two day - shift workers .
as the title suggests, “christmas, again” is concerned with how the holidays are, for some, a time of lonely resignation. (sporting a green winter jacket, noel sometimes looks ready to camouflage himself in his merchandise .) the cinematographer, sean price williams, shoots on 16 - millimeter film, suffusing the film with wintry colors and, at times, visible grain. this is a christmas movie in which magic exists largely on the periphery, and that is just the right mix of chilly and sweet .
this is a christmas movie in which magic exists largely on the periphery, and that is just the right mix of chilly and sweet .
a truly quiet movie but one that' s also consistently rewarding. i hope you guys aren' t as lonely as noel this christmas .
by the end of christmas, again’s brief runtime, poekel’s preference of little to no narrative momentum begins to wear things down, but not enough to cause any serious damage. for the most part, the listless tone helps establish the film as a refreshing take on the christmas movie. it doesn’t like to think big or provide a neat character arc, preferring to act as a brief snapshot into one person’s wistful existence during the holidays. it may not be the most exciting thing to watch, but it provides something unique, relatable and ultimately worthwhile .
“it was christmas and mom was always going, ‘calm down. ” and i had a couple of drinks and i put it out there. ”
the very nature of their kinship implies that not every bored, disgruntled urban young adult falls into the neatly defined conventions of cynicism and privilege. by merely breaking away from those clichés and carving out an charming fresh path, poekel makes a quietly defiant statement. “christmas, again” hints at the arrival of a promising new voice, but doesn’t blast it, instead adopting the same gentle allure of the poekel’s forlorn protagonist .
notably, while “christmas, again” provides yet another microbudget snapshot of brooklyn living, it stands apart from countless rambling meditations on urban youth culture. hailing from upstate and planning to return there after the holiday, noel is a transitory figure at odds with his surroundings in more ways than one. lydia follows suit. though she’s given less of a backstory, she offers the semblance of catharsis without becoming a one - note panacea .
though it runs just 78 minutes, christmas, again still feels a touch too long and, as such, maybe overplays its hand a bit. though we’re given an admirably realistic resolution, i couldn’t help but wish for a touch more ambiguity, a reflection of the amorphousness of noel’s transition into an unsure future. focus shifts slightly in the movie’s final moments, which feels jarring in a film that’s centered so tightly around one man’s journey .
delicate and restrained, the film offers the messages of redemption and renewal we so often crave from a christmas movie without wrapping its themes and characters in tinsel .
i have a soft spot for plotless movies about sad people. the fact that it' s set around christmas makes it sadder, and makes me like it even more .
there' s no hollywood ending here, but though little has happened plot - wise, we sense that this christmas just might have been transformative for two lonely, drifting souls .
there are glimpses of unexplained strangeness: in the trailer, noel listens to what seems to be a tape of an old - timey melodramatic radio show. he keeps pills (for anxiety? pain? sleep ?) in different windows of a cheap advent calendar, popping one a day. when lydia (hannah gross), a drunk girl he helps one freezing night after finding her passed out on a bench in the park, with only one shoe, and gum tangled in her hair, shows up the next day with a pumpkin pie she baked to thank him, he' s not sure how to react. a more conventional film would have had lydia be the quirky girl who helps noel find joy in the christmas season .
christmas, again
resists. lydia moves out of the film. she returns, and leaves again. the two try to play cards. she tries to talk to him. he is kind but remote. silence dominates but it' s full, not empty .
charles poekel’s debut feature christmas, again moves him from the nonfiction world he’d previously been in, working as the dp on niche occupational docs like hey bartender and all in: the poker movie, to a fictional world that retains a verite style. this isn’t far from the kind of documentaries that follow one guy through his life. there isn’t any flashy camera work or melodramatic plot twists, only a man with a symbolically interesting job. that man, noel (kentucker audley), is selling christmas trees in an nyc park. where he used to do this kind of seasonal work with a long - term girlfriend, he now is selling them alone. noel’s (get it ?) dreary day - to - day life is juxtaposed with the cheer the…
it’s december. it’s cold. red, green, and blue bulbs glow over a small christmas tree stand. there resides noel (kentucker audley), soft - spoken and swimming in flannel. he sells trees, adorns wreaths, and mingles with a rotating cast of new york locals. “christmas sucks, ” one mutters, and noel doesn’t argue. it ain’t what it used to be, that’s for sure .
none of these events are highlighted in a way that telegraphs
here is the plot .
christmas, again
asks us to submit to the mood because that is where the profundity and emotion exists. new york is narrowed down to one corner, but on that corner a bustling diverse life occurs. cinematographer sean price williams, who helped shoot albert maysles'
iris ,
and also shot indie hit
listen up philip
, often blurs out the background, fuzzed - out colored strings of lights filling up the space behind people' s faces. the light is harsh in the morning, and dark blue at night. you can feel how cold it is .
one of the most important challenges for a director (along with the cinematographer and editor of any given film) is to create the proper mood for the story. mood may be more important than words, because words come out of—or are contextualized by—mood. mood is ephemeral, but it helps establish point of view and orients us in the dream - space of the film. with all of the things that
christmas, again
( written and directed by charles poekel in his feature debut) does well (and it does almost everything well), the most striking thing about it is its evocation of an extremely specific mood. once we settle into it, and it happens early, everything else becomes possible .
a heartbroken christmas - tree salesman returns to new york city hoping to put his past behind him. living in a trailer and working the night shift, he begins to spiral downwards until the saving of a mysterious woman and some colorful customers rescue him from self - destruction .
starring kentucker audley (“sun don’t shine”) as a downtrodden loner selling christmas trees in brooklyn in the aftermath of a breakup, and the fleeting connection he finds with a fellow lost soul, the movie makes no grand gestures but provides a satisfactory arrangement of many small ones .
for a fifth consecutive december, a heartbroken noel returns to new york city to work the night shift at a sidewalk christmas tree lot. devoid of any holiday spirit, he struggles to stay awake during the long, chilly nights in his trailer, while the daytime traffic keeps him from getting any real rest .
the monotony of noel’s job takes a turn for him when he finds lydia (hannah gross) passed out on a bench near his work. after letting her sleep in his trailer, she vanishes the next morning, only to return again days later. noel and lydia strike up a sort of casual friendship, one more out of necessity than by choice. both of them have similar issues, and their isolation only draws them closer together. poekel ends up taking their relationship in an unexpected direction by the end, one that’s surprisingly satisfying considering its lack of a clear resolution .
a mopey, little whisp of a film that can only be felt, rather than described. pregnant with unspoken emotions that flicker on & off across the lead actor' s face, like the out - of - focus christmas lights that litter the screen, this a movie that is so quiet & unassuming, it most definitely requires a second viewing .
for five straight years, noel (kentucker audley) has traveled from upstate new york to brooklyn in order to sell christmas trees on the sidewalk. mostly working the night shift, noel struggles mightily to maintain an affable demeanor in the face of demanding customers and lackluster co - workers due to the fact that he misses his old crew; more specifically, his girlfriend. …
audiences thus slowly get to know noel, who’s clearly become a man of few words since the breakup and who seems to just blindly forge ahead, as if on autopilot. but this being a christmas movie, a spark of good tidings and cheer can be found on a nearby park bench, where noel finds lydia (canadian actress hannah gross), who’s so wasted she hasn’t noticed a homeless man has taken her mobile phone .
noel’s been selling christmas trees in this spot for five years now, but something’s different this year. “that sign’s new, ” he observes of his surroundings. “they paved the road, never thought they’d do that. ” but it’s noel, not new york, that’s changed. he’s newly single and, as such, left without his longtime crew. instead, he’s saddled with a pair of slackers (jason shelton and oona roche) and the aching weight of memories that accompanies not just this spot, but the holidays themselves. in pouring rain and drifting snow, noel sulks behind his beard, speaking in monosyllables as he sells trees to yuppies, scumbags, and healthy, happy families. one night, however, he stumbles upon lydia (hannah gross), passed out on a park bench. he gives her refuge for the night, and, as christmas looms closer, she weaves in and out of his life .
the film consists mainly of noel’s countless short exchanges with his co - workers and a series of customers, who range from kind to disinterested, funny to bizarre (one of them actually lands a punch on noel’s face). as per the press kit, most of these encounters were inspired by the director’s own interactions with clients as a christmas - tree peddler, a job poekel started with the idea of funneling both his experiences and the money earned into his feature debut .
where all this is headed can’t exactly be called shocking, though noel and lydia nicely underplay their growing rapport and there’s indeed a sense that the withdrawn noel slowly melts in the presence of this girl who — what else? — bakes him a cake to thank him for taking care of her. cue the christmas songs about cold winter nights and heart - warming occurrences, though thankfully poekel' s song choice is a little more offbeat and eclectic than usual for holiday films .
for a fifth consecutive december, a heartbroken noel returns to new york city to work the night shift at a sidewalk christmas tree lot. devoid of any holiday spirit, he struggles to stay awake during the long, chilly nights in his trailer, while the daytime traffic keeps him from getting any real rest. as he slowly spirals into despair, he comes to the aid of a mysterious young woman in the park. her warming presence, matched with some colorful customers, help rescue him from self - destruction .
if the new yorkers around him can be divided into white - collar and blue - collar types, noel belongs to a third category: an underspoken flannel - collar guy from upstate who feels out of place in the big city. such characters rarely serve as the focus of an entire feature, and that novelty provides a zen - like calm at the center of the stress the gothamites around him bring to the christmas season. (an interaction with one douchebag glued to his smartphone underscores how different he is from the locals. )
customers mostly come and go, though one flirty young lady requests a christmas eve delivery that sounds more enticing that it turns out, and the girl from the park bench resurfaces — as does her jealous boyfriend — to break up the routine. efficiently trimmed by editor robert greene (“listen up philip”), the pic’s charm comes from its moments of unforced naturalism: little observations about the way people behave, paired with details and anecdotes that poekel himself lived during his years operating mcgrolick trees, the same stand where the film was shot .
this movie is not for those who
l - l - l - l - ove
christmas (insert smiley face and / or festive yuletide thingy here, with irony), so that takes care of the warning up front. it' s melancholy. very, very melancholy. it' s also surprisingly effective and quietly moving. it captures tedium perfectly, and that combined with grief and loneliness makes it a realistic, wistful trifecta. bonus: brooklyn in chilly winter. i liked this weird little gem, though will be sure not to rewatch it in the holiday season .
the story takes place
sometime fairly recently ,
at a street corner in greenpoint, brooklyn, where the auspiciously named noel (audley) works the nightshift at a makeshift christmas - tree stand that’s open 24 / 7 for most of december. as slowly emerges from snippets of conversations, a lot has recently changed for noel, for whom this is the fifth year on the job. this time around, he’s decided to work nights, most likely as a result of his break - up with his girlfriend, mary - ann ,
that nice girl from last year
that clients rather unfortunately keep asking him about .
and that' s pretty much it, in terms of plot. things do happen: noel is annoyed at the lackadaisical attitude of his underlings (
nick, you gotta be better at sweeping up the needles, man ...
), goes every day to swim and shower at a nearby ymca, buys lotto tickets. noel is quiet, but not apathetic about his job: he is ambitious to sell as many trees as possible. people who recognize him ask if
marianna
is with him, and he replies ,
not this year
without elaborating. maybe she' s an ex - girlfriend. it' s not clear. maybe they worked the christmas season together and he had a crush on her and that' s as far as it went. (that somehow seems more likely. he seems like an unrequited kind of guy. )
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
crafted with affection and attentive to workaday rhythms, this first feature from writer - director charles poekel demonstrates an authentic feel for the neighborhood, where he himself once sold trees .
the film amounts to a collection of indelible moments, many of them piercingly lovely and delicate .
the most striking thing about it is its evocation of an extremely specific mood. once we settle into it, and it happens early, everything else becomes possible .
poekel keeps things natural, letting noel' s sadness slowly permeate the atmosphere along with the scent of pine needles rather than ringing it out at high volume .
basically the story of a man forced to finally see the injustice around him. riley’s movie is designed to do the same thing to you. …
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noel has interactions with various customers: an impatient guy with a bluetooth who takes pictures of various trees to text to his wife (
hold the tree straight ,
bluetooth guy commands), a seemingly flirtatious woman who admires the holly noel put in the wreaths, a woman who asks
do you have the obama tree from ohio ?
, and an intense guy who asks ,
do women like douglas fir or balsam fir better ?
some of the interactions have more reverb than others, but they remain isolated incidents with their own internal tensions and a strong cumulative effect. one night, a guy comes up behind him and punches him in the head with no warning. later noel admits ,
i been punched before
and you believe it .
kentucker audley is a naturally charismatic actor. in
kurt cobain: montage of heck ,
courtney love observes that her husband
had no idea he was as good - looking as brad pitt ,
and you get the sense that noel is the same way. his handsome face flickers with emotions, gone in a flash. when he does show humor, it is only in his eyes, but it' s there, a slight wince accompanying. audley draws you in in the way the old movie stars used to do: his emotions are clear and mysterious at the same time. loneliness does not express itself in language. loneliness is the air noel breathes. it' s in his posture .
all of this may sound rather dull. but it' s not. it' s a beautifully observed film without any overt message (thank goodness) but drenched in melancholy and silence and cold. things sometimes resolve themselves, gently, only it' s fragmentary, and none of it is
the point .
the point is that noel is a guy living a specific life in a specific season, dealing with emotions that are all over his face but never verbalized. there is no self - pity, no maudlin catharsis. the film has the courage of its convictions and confidence in its mood. what a pleasure to watch a film that resists being about only one thing. that resists the conventional story. that lets us enter into the life of another .
an interview with terry gilliam, director of
the man who killed don quixote .
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in the tradition of such diy day - job dramas as “the happy poet” and “beeswax, ” poekel’s debut was inspired by three years its writer - director spent hustling evergreens to hipsters in greenpoint, brooklyn — a job that transformed the normally festive month of december into a surreal state of semi - homelessness, as poekel (and the dozens of other tree sellers doing the same thing) passed their nights in trailers and cars near the lots where they worked .
poekel barely bothers to invent a plot (not that such a slender film overtly needs one), focusing instead on the funk his sullen protag, noel (kentucker audley), feels working the stand by himself. technically, he splits the job with two young lovebirds who handle the dayshift, though being confronted with their inseparability only makes it worse, since noel associates the job with his unseen ex - g. f. , who opted to spend her holidays doing something else this year .
it’s impossible to say how serious they were as a couple (if the label even applies, since it might have been entirely one - sided). offering no flashbacks and precious few clues, poekel relies on the underspoken character to convey this sense of absence through a series of prickly, passive - aggressive interactions with his two co - workers and a variety of briefly glimpsed customers. taking out his heartbreak on others, noel is curt and surprisingly unhelpful with clients, though never in a snide “bad santa” sense. audley makes him sympathetic, and at times, he’s even capable of kindness, as when he rescues a drunken girl () from a park bench and allowing her to sleep it off in his camper .
poekel describes this approach as “method writing, ” though most people would call it research. this specificity gives the film texture, from the way noel wraps and prepares the trees for sale to the night a synthetic blanket catches fire and nearly burns down his caravan, while an almost allergic resistance to melodrama keeps the experience feeling real, rather than sappy — which is more than can be said of the hundreds of dead trees he sold to get this movie made .
reviewed at locarno film festival (), aug. 12, 2014. running time: 79 min .
production: produced by charles poekel. executive producer, william poekel. co - producer, clare paterson .
crew: directed, written by charles poekel. camera (color, 16mm), sean price williams; editor, robert greene; production designer, trevor peterson; sound, udbhav gupta; associate producers, eleonore hendricks, anne miller, blake wilson; casting, hendricks .
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audley’s performance is both aloof and assured, well - rounded enough to ensure the warmth that eventually emerges from behind his gruff exterior feels not like an anomaly, but rather a wounded animal that’s taking a chance on a world it doesn’t trust. we never learn much about noel’s breakup or family or life outside of december, but he still feels like a fully formed character thanks to audley’s soulfulness and the little things poekel plants in his orbit. gross also finds a great deal of honesty in her few scenes, affirming herself as much more than a manic pixie dream girl sent to help this sad man have a happy holiday. her life seems light years more complicated than his; if anything, she sees him as an escape from the hell that is her holidays .
this family - friendly take on the classic novel takes a light approach to its naturalistic source material .
noel and liam are alleged to have broken into gladys tomlinson’s manchester home in 1989 .
the children quiz liam on his favorite disney movie, what song he most enjoys playing, and his favorite type of farts .
a customer mentions the nice girl who worked at the stand last year, clearly noel’s ex. whether heartbroken or simply laconic, noel seems reluctant to make conversation unless directly addressed .
but this is a film of process, mood, tempo and even suspense. (noel will have to pay for any unsold trees .) the writer and director, charles poekel, a cinematographer making his feature directorial debut, opened a stand of his own partly for research .
audley (ain’t them bodies saints), in practically every frame of the film, has to carry this feather - light narrative on his shoulders and does so with ease. his noel seems to do very little and isn’t particularly warm or sympathetic, yet there’s something fascinating about simply watching him getting on with the business of selling trees, which, much like his funk, is clearly a seasonal thing. opposite him, gross (i used to be darker) is an affable presence, though her character is more of a vision than anything resembling a girl with an actual personality .
though the budget was clearly tiny, dp sean price williams (the color wheel, listen up philip) did shoot the film on 16 mm, which lends the cinematography a pleasant, old - school feeling, with the grain functioning as a kind of gauze and the initial restlessness of williams' camera slowly steadying as noel finds his bearings .
also of particular note is the enormous, hooded green winter coat that lydia wears, which in some shots makes her look like someone out of a hans christian andersen fairy tale even if the garment always remains credible as the kind of thing a brooklyn hipster would fish out of a well - stocked second - hand store .
over the course of its trim 80 - minute plot, the subdued audley imbues his character with gently affecting melancholic depth. a far cry from some of the more energetic personalities he’s portrayed in other small - scale narratives, audley imbues noel with the characteristics of a frightened lost soul. working the graveyard shift on a bland lot and regularly berated by his boss for not selling enough trees, noel spends most of his sleepy routine sitting around and gazing wistfully at photos of his former flame. but his routine gets shaken up during a chance encounter on the street with a mysterious woman named lydia (hannah gross) whom he discovers passed out drunk on a park bench. dragging her back to his place, he instigates an ambiguous relationship as the similarly low key lydia regularly pays him visits to discuss her own alienated life and relationship troubles. though their relationship only develops up to a certain point, it’s that very same restraint that allows the story to make a compelling break with convention .
far from the solution to his troubles, lydia merely offers the possibility of hope in fresh companionship. poekel’s muted screenplay frames their story in basic terms, avoiding the prospects of a tidy climax and allowing the somber nature of his characters to take the lead. the result is a lightweight but utterly likable riff on urban loneliness that never forces its themes .
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a. v. club review. still haven' t seen any of kentucker audley' s films as writer - director, but if his performance here is typical, he' s a hell of an actor. (just realized you can' t use
helluva
in front of a noun beginning with a vowel. )
ah the comfortable feeling of movies with no plot. this movie was a treat .
le tengo cierto cariño a películas sin trama y sobre gente triste. el hecho de que ésta esté situada durante diciembre, la hace más triste, y a mí me gusta más .
i hate the name, but it' ll have to do as a placeholder. as far as i can tell, relative to…
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kinja is in read - only mode. we are working to restore service.
christmas , again is a 2014 drama romance written , directed , and produced by charles poekel . the film features kentucker audley in the lead role as a christmas-tree salesman returning to new york city . the film had its premiere at the 2014 locarno international film festival in switzerland and the 2015 sundance film festival in the united states . 
christmas, again is a 2014 drama romance written, directed, and produced by charles poekel. the film features kentucker audley in the lead role as a christmas-tree salesman returning to new york city. the film had its premiere at the 2014 locarno international film festival in switzerland and the 2015 sundance film festival in the united states.
christmas, again is a 2014 drama romance written, directed, and produced by charles poekel. the film features kentucker audley in the lead role as a christmas-tree salesman returning to new york city. the film had its premiere at the 2014 locarno international film festival in switzerland and the 2015 sundance film festival in the united states.