Soon after, Mosseri was able to bring his considerable talent to the second season of Amazon TV drama “Homecoming”, where he built not only on his voice from “The Last Black Man in San Francisco” but also on several famous music cues that director Sam Esmail had insisted on in the first season. Mosseri’s work was praised by keeping a Hollywood sound that was entirely his own work, but matched the music of Bernard Herrmann and Michael Small from films such as “Vertigo” and “Klute”.
Afterwards, Miranda July’s “Kajillionaire” presented a different challenge for Mosseri, having to deal with more comical and irreverent material. From there he created a bright, melodic score that has an infectious “love theme” at the center of it, with a piano riff and a female voice that makes it sound like a piece by Nino Rota. Mosseri is really interested in her voice here, while soprano Theodosia Roussos hits superb high notes. But Mosseri also uses her voice as a bed for a more melancholy setting, as Evan Rachel Wood’s character Old Dolio realizes the disconnect between her and her parents.
It comes to a head on their inability to call him “Hon,” and Mosseri marks him with a light signal that builds and builds until he reaches an emotional climax as she leaves, followed by ‘an exceptional piano signal as his outlook on life changes. after an earthquake. Mosseri is great at writing those life-affirming plays that work like hyper-efficient machines to convey emotional truth without feeling too much or too obvious. While the film takes place in a somewhat episodic fashion, the score helps “Kajillionaire” blend into a whole.
With “Minari”, Mosseri’s talent feels like he has evolved to a new level. The painting is all about struggles: the struggles to build a new home, to start a business, and to maintain a relationship. And yet, Mosseri marked Chung’s film with beauty, tenderness and a touch of idiosyncrasy. The score opens and closes on the same theme in different settings, and it overwhelms you, with this heavenly lullaby on the vocal and delicate piano, and takes you into this bucolic world of nature. There is an ethereal nature, just like the fragility of the American Dream that Steven Yeun’s Jacob clings to, something that is not tangible and can disappear in a whisper. Mosseri marks Jacob’s dream at first as if it’s just that, and Jacob tries to interpret to Monica (Yeri Han) and her family what he can see in his head, with limited frustrating results. But we can hear what’s in there, a beautifully serene signal for strings as intoxicating as the dream itself.