Jessica Chastain’s Annabel returns, steadier but still splintered, when Victoria (Megan Charpentier) and Lilly (Isabelle Nélisse) start hearing a lullaby braided through the vents of a former chapel turned foster home. The trailer breathes cold: a night‑light sketches footprints up the wall; a rocking horse ticks forward without shifting the rug; Polaroids develop an extra hand on each shoulder.

Plaster swells as if something is breathing inside it; a door opens onto last winter; the crib’s shadow stretches to the ceiling and waits. Sound design weaponizes hush—bowed strings, a breath that doesn’t belong, the brittle click of nails on paint—before the house exhales all at once.

Quick flashes tease a flooded stairwell where toys drift like lilies, a mirror that won’t reflect faces, and a fire drill that ends with every exit pointing inward. Final beat: the lullaby cuts; hair slides across the nursery floor toward the lens; a voice at our ear whispers, “I told you I’d come.”