So the primary focus of your story in the relationship between mother and daughter. Specifically, the mother’s attempt to force her daughter into one last ?”bonding experience”.

That’s fine. ?But…

Movies are a visual medium so I have to ask the question: what is the visual for the “bonding experience”? ?What will that look like on a movie screen? ?What will it look like and what is said and done that indicates she has succeeded — or failed?

As an example, take the movie “Wild” (2014). ?The Reese Witherspoon’s character has an objective goal to hike the Pacific Crest Trail. ?Now, of course, the weight of her backpack is a metaphor for the equally heavy ?psychological baggage she is carrying with her — her subjective problem. ?And if she doesn’t eventually dump her psychological baggage, she will not achieve her objective goal.

But a logline for a movie needs to be framed around her objective goal — not her subjective need.

Either she successfully completes her physical journey — or she doesn’t. And the visual on that is reaching some landmark that indicates success. In the ?movie, that visual is ?walking across the “Bridge of the Gods”that spans the Columbia River. ?That lets the audience know that she has accomplished her objective goal. (And along the way, shed her psychological baggage.)

Now then. ?In the case of your story, what exactly is the visual for the “bonding experience”? ?What does that scene look like? ?What would happen in that scene to indicate success?

Your logline needs to supply or suggest a visual image that would ?inform the audience that she has succeeded.

Another aspect of your story is that the mother’s want is ?clearly the wrong goal. She’s desperately trying to impose her definition of a mother-daughter relationship on her daughter whether her daughter wants it or not. She’s desperately dumping on her daughter the burden of ?the mother’s emotional baggage. ?I would think that would be a hard sell to an audience. ?They might sympathize with her emotional problems, but I don’t think they would be rooting for her method of resolving them –at her daughter’s expense.

Now it’s perfectly legit for a character initially pursue the wrong goal and eventually come to see the error of her goal and embrace the right goal.

But for the purpose of a logline it’s better if the story is framed with an objective goal that ostensibly seems acceptable, desirable from the git go. (Even though during the course of the story the character comes to realize that it’s the wrong goal, or the right goal for the wrong reason.)

fwiw