To overcome her performance anxiety, a renowned classical pianist pursues an anonymous affair with a man who is sharply skilled at erotic knife-play.

Thank you!

Thanks so much for all the feedback! All very useful :-)

I like nicholasandrewhalls comment. I think you should set the story around a particular event, e.g. terrified of auditioning for the role of [blank], instead of the vague "performance anxiety."

Focusing on performing at a particular event will allow the audience to lock on an identifiable goal. It will also give her a ticking clock, and goes a long way in setting up the stakes (i.e. "this is that one career make/break moment.").

Thanks so much for your 'facing fear to fight fear' comment. It's influencing me to alter this logline to suggest your observation and mmckean's question above.

So what if the logline read,
"To overcome her fear of performing, a renowned classical pianist pursues an anonymous affair with a man who is sharply skilled at erotic knife-play."
?

I love those questions! Watching the movie answers them. Loglines are supposed to present the problem and/or the situation, but not spell it all out for you--or why see the movie? If the setup intrigues or compels you enough you'll consider watching the movie to see how it all plays out. This is all you're gonna get with a 1-sentence logline and I see far too many that are far too long.

I'm also hoping people can imagine the pressure a renowned classical pianist faces, which hopefully communicates the 'big and important'

Thanks for your feedback mmckean. If I remove the fact she's a pianist, it will simply look like a woman simply pursues an anonymous affair--but why, and what makes that a movie? Being that the pressures of her profession have a lot do with her motivation, I'll consider changing the logline to, "To overcome her fear of performing, a renowned concert pianist..."