Based on true events. “When a decorated Luftwaffe officer and his family on holiday accidently end up in Nazi death camp Treblinka, they must convince the cruel camp commandant to spare their lives.”

The notion of bulking up the plot doesn't refer solely to an escape plan, that was just one idea I put in a post, it refers to a lacking in action predominantly in act 2. When I write action I don't necessarily mean physical action such as fighting and running rather exchanges of beats between characters.

The Boy in the Striped Pyjamas is a great example of actions taken by characters according to the beats of the story. Whether it was the father and mother arguing about the best place for them to raise their children Nazi death camp with their father or the city away from the father. The sister and her love interest being disappointed with his true nature and changing her mind about him. And of course the MC wanting to find a friend to play with, betraying him and then making amens for his betrayal with dire consequences.

Point is there was a sequence of events and actions that all related to the meaning of the story at large as a result the separate sub plots comprised of these events affected each other. In my opinion the current draft of the logline doesn't describe enough detail that alludes at multiple plot lines sustaining the grander story in such a way.

For example:
Based on true events. When a Luftwaffe officer and his family on holiday accidently end up in death camp Treblinka, they must learn how to survive their incarceration in an attempt to convince the camp commandant to spare their lives."

Am sure it can be done better and it isn't much but by adding in their needing to learn to survive it hints that there is more to this story beyond a series of conversations between the family and the commandant.

End of discussion? I get what you say about "it's my story'" And you are right Nir, it's (also) "a matter of taste and on taste there can be no debate". But I don't want to make a semi-copy of "Escape from Sobibor" Even if the escape is lead by the German Luftwaffe officer who part of the escape committee don't really trust.

But maybe the question here is "how" do we define dramatic plot? Does a compelling inner journey of the leading characters keep the audience attention or must there be bombs falling? Does the audience, in this genre, EXPECT bombs to be falling? Look at a movie in the same genre: "The Boy in the Striped Pajamas (2008).... I think I have to find ways to beef up the conflict without the physical action.

I beg to differ with the comments above and would strongly recommend finding further dramatic plot points to bulk up act 2 preferably cinematic ones that lend themselves to be dramatised visually.

Also Rutger regardless your cultural heritage this is your story and you have the right to do with it as you please for purposes of the film. If I were you I wouldn't concern myself at this stage with historical accuracy rather structuring a compelling plot that delivers the same meaning as the original event.

However this is now a matter of taste and on taste there can be no debate.

All the best with this concept.