In a leisure female-only Utopia where sex is the only taboo, a willful girl must escape from her restrained community to join her lover who has been sent away.

As Nir Shelter said.

When you're as established and commercially successful as Tarantino, you won't have to write a logline. The name on the title page will suffice to get a reading.

(And when he was a nobody, Tarantino worked the Hollywood social circuit to meet the right people to get a reading. And how many of us live in Tinsel town? How many of us have fewer than 18 degrees of separation between us and somebody who can green light a script?)

Until then...

As Nir Shelter said.

When you're as established and commercially successful as Tarantino, you won't have to write a logline. The name on the title page will suffice to get a reading.

(And when he was a nobody, Tarantino worked the Hollywood social circuit to meet the right people to get a reading. And how many of us live in Tinsel town? How many of us have fewer than 18 degrees of separation between us and somebody who can green light a script?)

Until then...

We often have this discussion on Logline.it when a writer tries to justify as a creative choice the lack of clarity, logic, or a goal, stakes, antagonist and a journey.

Alas the answer is always; a resounding yes! They are needed in most cases.

Look at Tarantino's films closely and analyse them (I have) liner story lines or not the MC in most cases had clear goals, high stakes antagonists and journeys.

Bottom line is if you want to sell a story to a producer he or she will have to see financial merit in it majority of audiences wanting to watch them as appose to the minority. For them to do so the story will have to comply with story conventions in order to reach a large enough audience. These conventions have been established and researched for a little over 3500 years so best to use them instead of reject them.