Logline is vague and unclear. If the couple refuses to speak of the tragedy, why mention it? Why should we be interested in reading about an inattentive husband or a doting wife? What is the harrowing terrain? Which world? Our world? Some other world? Why did they have to fight for their land, is this a western?

Without knowing anything about your screenplay:

After losing their child to smallpox, a couple distanced by grief must cross Death Valley to escape the marauders who burned their homestead and find a new place to call home.

When the first Mars colony is wiped out by a contaminated air supply, a married geo-survey team on the brink of separation must make their way to an abandoned settlement a hundred miles away in a damaged rover with less than two hours of air in their tanks.

Anyway, you get the idea. Where are we? Who are we rooting for? What's the problem? Who is the enemy? What is the hero trying to accomplish?

Good luck with your writing!

I really appreciate this. I'll be editing and taking consideration as soon as i get these kids to bed!

It does need something to ground it. I can see a story set in the middle east in current times. Or in Europe during WW2.

The tragedy they don’t speak of... does this drive the story? If it does it should be in the logline. But if it just an interesting emotional beat, save it for the script.

I start with something like this normally.

Person must .... but ..... forcing them to .....

or

After ..... Person...... causing ...... so they must .......

I stick to the main through line for the story.

What I really like is that it is all about people. Many logline are just a world description or a shopping list of events.

Thanks Craig! noted.