Joseph Micucci

Joseph Micucci’s filmography doesn’t exactly scream “household name,” but if you’re even a little into mind-bending sci-fi or gritty drama, you’ve probably bumped into his work without realizing it. Let’s start with Cosmos: Possible Worlds (2020). This one’s got that whole “let’s blow your mind about the universe” vibe, hosted by Neil deGrasse Tyson. Micucci’s name pops up in the credits, and while he’s not the face on screen, his behind-the-scenes magic helps stitch together those cosmic visuals and storylines that make you feel both tiny and weirdly hopeful about humanity’s place out there. Now, jump to The Electric State (2025). People are buzzing about this one, mostly because it’s based on Simon Stålenhag’s wild art and the Russo brothers are steering the ship. Picture a retro-future American wasteland, a teen girl with a robot sidekick, and a world that feels both nostalgic and apocalyptic. Joseph’s technical chops and eye for detail help bring this trippy, dreamlike landscape to life. It’s not just another CGI fest—there’s heart, texture, and a strange sense of longing in every frame. And then, there’s Finestkind (2023). This one’s a departure—a crime drama set in New England, all salty air and family secrets. Micucci’s touch is less flashy here but no less crucial. He weaves tension into the scenes, gives the family dynamics real weight, and makes you feel the stakes with every awkward dinner and backroom deal. So yeah, he’s not a household name, but Joseph Micucci’s fingerprints are all over some of the best modern storytelling.