Every Night Christmas
Night-time in New York is a place for strange encounters, for people adrift who inevitably end up crossing paths. At Christmas, when houses are being adorned, businesses spring up along the streets selling decorations like the inevitable Christmas trees, in all sizes and colours. Noel works for one of these, spending the long December nights inside a badly heated caravan along with a young and not very trustworthy couple.
At the start of the feature, Charles Poekel glides confidently through the rich iconography of nocturnal stories set in the Big Apple. His story embraces the horizontality of the street: both middle-class homes and tall buildings remain out of shot. Yet his film links the (under)ground universe to the theme of work, represented as a commitment and an effort but never mocked. In this way, Christmas, Again manages to avoid the usual clichés of films depicting the world of the homeless and the marginalized.
While the collaboration with editor Robert Greene helps to shape a story with multiple strands and the performance of Kentucker Audley, who has filmmaking experience, gives depth and intensity to the story, the narration relies on a movie camera always in contact with the characters, as though the narrow space of the caravan could expand and embrace the exterior. This is the most effective way to balance the drifting of the protagonist and announce the encounter with a woman, also in prey to loneliness. Well balanced between hints of surrealism and a tender melancholy, Christmas, Again is, in the end, a perfect Christmas tale: it even follows the ground rules, ultimately introducing a light of hope into consumer society.
Volevo esplorare la relazione tra i venditori di alberi di Natale newyorkesi e i loro quartieri, soffermandomi su un uomo con il cuore talmente spezzato da essere praticamente in lutto. E mostrare come a volte sono proprio le persone che cerchi di scacciare quelle che, volenti o nolenti, ti salveranno.