In a post-apocalyptic world, a family must remain silent to hide from monsters with ultra-sensitive hearing.
The logline I posted is the marketing version featuring the story hook. I have come to believe that to be the most important element in a spec script.
And based upon my understanding of how the film came to be, that is how the project got going. The star/director,. John Krasinski, got involved on the basis of the hook . But he was not satisfied with the spec script. So he undertook a number of rewrites before arriving at the version that was shot. Hence, why he got the lead writing credit.
So I see this as an instance of a movie project that got going more on the strength of the story hook than on the strength of the plot of the original spec script.
As for a development version of the logline that sets out the inciting incident for the shooting script — good question!
The film opens in media res, sort of, the monsters are already there. And they kill a son. Which creates a subjective problem, the daughter’s sense of guilt for her brother’s death and her relationship with her father. And embedded in that is a theme
Whatever, a development logline is supposed to focus one the objective problem and goal, not the subjective.
So, the story jumps forward to more than a year later. The wife is pregnant, has almost comes to term. Which raises the objective dramatic problem: infants cry. It could take years to train the child to remain silent. Which raises the dramatic question: will she be able to safely deliver and raise the baby in such a hostile environment?
I throw the question back to you: what do you think to be the inciting incident of the plot of the film that got made?