Furtherless & finally:

It seems to me that Implied — but not explicit — in your concept is the notion that when he begins to give guitar lessons to pay for his habit, he will be forced to engage with the human species in (for him) a radically new way. Heretofore, he’s been exploiting people, selfishly reveling in superficial, transitory relationships with masses of people on stage and meaningless one-night stands with girls in bed.

Now as a teacher, rather than a performer, he must learn to give, to engage in deeper, long-haul, one-on-one relationships with his students. One of which should be meaningful, perchance, transformational.

There’s a “B” story lurking somewhere in your idea, but I have no idea what you have in mind.

A logline is supposed to focus on the “A” story, of course, the struggle for an objective goal, but in doing so it can suggest the “B” story. Because the “B” story is usually the key to success (or failure) in the “A” story. And the potential for an interesting “B” story is what attracts me to your concept, keeps me coming back to post on it.

fwiw

Or she could decide to defy her family and her own fears and return to Ukraine, not in spite of the ongoing military conflict and economic crisis but because of them: they represent an opportunity par excellence for her to be an eye witness reporter on the front line of a pivotal moment in European history. (She could be fluent in both the Ukrainian and Russian languages.)

The enduring appeal of “Bucket List” stories like this is that when confronted with a death sentence, the protagonist makes the strongest choice, risks all for her biggest dream, the one she could find all the excuses in the world not to strive for under normal circumstances. Or postpone — the “ma?ana, ma?ana” syndrome — because she thinks she has all the time in the world to wait until conditions are “just right”. (Which, of course, they never are.) Most movie goers can identify with that existential predicament.

fwiw