In the final moments before facing the firing squad, the charismatic leader of a murderous robbery gang makes one last request: to have her confession heard by the priest who was once her lover.

I've just done some digging and it seems multi-strand narratives don't often have dramatic or exciting loglines. Films like 'Pulp Fiction' and 'Star Wars' have been offered as examples.

Right now, there's quite a few variations to choose from so I think the best thing for me to do is to step back for a few days and then take a fresh look and decide which one is best suited for purpose.

Guys, many thanks and much appreciation for all the comments. There's no way I could have explored so many different approaches working in isolation.

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"Facing the firing squad, a notorious gang recall their exploits to the devout priest offering confession while their leader rebels against the padre who was also her high school sweetheart."
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Hope that helped.

kbfilmworks, if the woman is not the central character in your ensemble story, then the logline can be easily retooled to bring the main characters to the forefront, just as you've done in your two examples.

Since the objective of your logline is to explain your story rather than to use it as a marketing tool to sell your script, you may not be as concerned with making your logline succinct (25-35 words) and enticing. If that's the case, then whichever of the two examples you posted best describes the major throughline of your dramatic narrative is the one you'll want to go with.

If you'd like to try to make your logline conform to the more conventional "pitch" format, you might consider something like this:

"Facing their imminent execution, members of a notorious robbery gang recall and reevaluate their lives as they try to convince a devout priest, who was once the childhood sweetheart of their charismatic leader, to redeem their souls."