Okay.

Salieri’s confession is a framing device to tell the story of Mozart who is clearly the protagonist. And Salieri is clearly the antagonist (and pov narrator). Who are assigned those roles in your story?

In “Amadeus”, the priest is a mere mediocrity in his profession (as Salieri is in his). He’s a character used to set up the dramatic exploration of some heavy weight artistic and theological questions, about the nature of genius, the justice and equity of deity.

In the 7th minute of the film, Salieri asks:

SALIERI: Do you know who I am?
PRIEST: It makes no difference. All men are equal in God’s eyes.
SALIERI: Are they?

That is the dramatic question the rest of the film explores.

(Also the movie was an adaptation of a wildly successful stage play. IOW: the premise was pre-sold, a proven winner. And then there’s the sin qua non icing on the cake: Wolfie Mozart’s divine music. Does your story have any of those elements to pre-sell it?)

It seems to me that for the purpose of the logline, your concept has got to do more than indicate that it mimics the structure of “Amadeus”. It think it needs a tighter, a more specific focus. “Reflecting on the past” seems too general. That may be the meat of the story, but it seems to me that the SIZZLE is how 2 lives passionately intersected and then wildly diverged.

And loglines are about selling sizzle, not meat.

fwiw.

>>struggle to make peace with their past….grapple with his own past

That suggests a story line that marches forward by looking backwards, with its gaze fixed on where its been rather than where it’s going.

The prisoners are facing imminent death. All their memories are about to be annihilated. What good will “making peace with their past” do, what dramatic purpose does it serve? Which, after all, seems to be dealing with subjective issues.

A logline is about objective goals. And objective goals should face forward in time, not backwards. Whatever the memories, whatever the issues in the past, the plot should be about the main character dealing with the situation that exists here and now.

fwiw.