Logline problems

Is it some kind of reverse of The Notebook?

I like the idea, but you need to flesh out the concept more.

If he is an amnesiac or suffer from Alzheimer's, should he really live on his own? Maybe having them live in a medically assisted resort make more sense.

I am assuming that she knows that he is her husband. Why does she not tell him?

When a lonely and suicidal man falls in love with his elderly neighbour, he has 30 days to convince her to leave the euthanasia centre with him.

He committed himself to the euthanasia centre that has a policy of 30 days before helping you commit suicide. During the course of the 30 days, he meet the elderly neighbour who told him that she is here because of her husband. Of course, never told but the viewer will assume that the husband is dead. She gave him back the lust for life. He then tries to convince her to leave the facility with him. We then learned that she is his wife. She was at the facility to accompany him, not as part of a suicide pact.

As Nir Shelter said.

On the other foot, if that's how you intend? the plot? to play out -- the Big Reveal in the end is that it's his wife -- that's a spoiler.? And a logline should never contain a spoiler, never give away the ending.

Which creates a conundrum for you, the writer.? Because right now, that discovery seems to be the story twist, the story hook , the distinguishing selling feature of the story.? So why shouldn't you pitch it in the logline?

Because it's a back loaded story hook.? It's something an audience has to hang in for 90 minutes or so to see.? And, these days, no audience will wait that long.? There are so many choices, so many distractions, so many competing venues for their attention.

So what movie makers want to see in a logline is a story hook that's front loaded .? That is, an event that happens in the 1st 15 minutes or so that will hook and hold an audience's interest? until the Big Reveal, far, far away in the 3rd Act.?

What is the front end story hook in this story that will grab an audiences's attention in the 1st Act and hold it until the Big Reveal in the 3rd Act?

fwiw

As Nir Shelter said.

On the other foot, if that's how you intend? the plot? to play out -- the Big Reveal in the end is that it's his wife -- that's a spoiler.? And a logline should never contain a spoiler, never give away the ending.

Which creates a conundrum for you, the writer.? Because right now, that discovery seems to be the story twist, the story hook , the distinguishing selling feature of the story.? So why shouldn't you pitch it in the logline?

Because it's a back loaded story hook.? It's something an audience has to hang in for 90 minutes or so to see.? And, these days, no audience will wait that long.? There are so many choices, so many distractions, so many competing venues for their attention.

So what movie makers want to see in a logline is a story hook that's front loaded .? That is, an event that happens in the 1st 15 minutes or so that will hook and hold an audience's interest? until the Big Reveal, far, far away in the 3rd Act.?

What is the front end story hook in this story that will grab an audiences's attention in the 1st Act and hold it until the Big Reveal in the 3rd Act?

fwiw