The logline sets up a situation — and one with great dramatic potential — but it needs additional detail, and it needs to be framed in terms of a plot.

Obviously, the need is to survive and be rescued. ? Well, what becomes the adult’s game plan to survive? ?And are there complicating factors? ?Like, for example, is winter approaching (a ticking clock)? ?That the adult is a photographer is an embellishment for the story but is irrelevant for the logline. ?More important need to know specifics for the deadline are whether the adult is male or female. And ‘ his/her age: ?young and fit or old and unfit. ?Does the adult have a medical condition that puts his own life in greater peril? ?And then, of course, there is matter of how to feed the infant who is too young to digest solids.

For most genres and most stories — like 95%+ — I subscribe to the rule that a plot, hence a logline, should specify a singular protagonist. ?Not just because it’s the established convention, but also because it makes dramatic sense.

[For most genres: ? The more I study the plots and wrestle with the loglines, the more I am persuaded that occasional exceptions may be found for romances and buddy stories. ? ?In some cases — but not all — it may be more accurate to frame a logline with dual protagonists because relationship is the core dynamic driving the plot.]

This story probably would be better focused and framed by having one clearly identified protagonist — a “first among equals”. ?But I can also imagine it playing out where the situation is exasperated because no one is really in charge; ?the film is an improvised ensemble effort and there is no “alpha” character to organize the others which is why they keep dying off.

?It all depends on the story the writer wants to tell and the under girding theme. ?And I’m not sure what his intentions are on those particulars.

fwiw.