After Patricia receives a letter informing her of her sister’s death, she makes her way to the family house. Susanna Baylock (Karen Henson), Patricia’s sister, died suddenly. Consequently, because of her employer’s death, the maid Annabel Blair (Sarah Wynne Kordas) made plans to leave the house and head to London.
Patricia and her sister, Susanna, were estranged for quite some time. It came as a surprise for Patricia to learn that her sister had left the house to her. Being neither a traditionalist nor very good at housekeeping, Patricia talks Annabel into staying on at the house. It doesn’t take long for Patricia to learn the house has numerous troubling secrets.
Even though Winson’s film, a low budget independently made production, suffered in many areas for its lack of funding, the effort that went into making it a reality should be commended.
In the tradition of classic British thrillers and horror films, Winson doesn’t shy away from using every trick imaginable to complete The Baylock Residence.
With stereotypical bumps in the night, mysterious sounds, and the creepiest of dreams conceivable, Winson makes his limited budget stretch significantly.
If you previously saw Winson’s The Haunting of Baylock Residence, other than being set three decades apart, you’ll not find much difference between the two productions.
Mainly focusing on Patricia and Annabel, The Baylock Residence features significant expositional conversations between the two women which detail a peculiar presence lurking in the house’s corridors.
Winson’s previous work shows the director has more than a passing fascination with close-ups. This was true with both The Haunting of Baylock Residence and The Baylock Residence. Because of the director’s reliance on classical British thrillers, whilst there is a degree of nostalgia which can be associated with the production, very little is truly original.