Tosin Morohunfola Turns Competition Into Conviction
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As the face of Tyler Perry’s Finding Joy, Tosin Morohunfola delivers more than just another holiday lead — he brings soul to the screen. Whether acting or directing, he treats storytelling as an act of faith, not fame. In this exclusive Kolor conversation, Tosin unpacks the balance between artistry and ambition, the spiritual side of creation, and why every role is a reflection of something greater.
Photography by Ammar Jamal
Styling & Interview by Nigel Isaiah
Grooming by Adrian Alvarado at See Management
Special Thanks to Amazon Studios
Q: First of all, Tosin, how are you feeling today? How are you?
Tosin: I am good. I am blessed. I feel very fortunate, and I’m so excited.
Q: Nice, nice. So Finding Joy feels like the perfect holiday escape—warm, romantic, a little bit magical. What drew you to the role of Ridge in this story in particular?
Tosin: When I first got the audition, I genuinely thought, “This is a character that has a lot of richness and depth.” I’m drawn first to character, and Ridge is someone with so many layers. On the surface, he can seem coarse and tough, like he has an unkind exterior, but it’s really just covering up a lot of pain and history that you have to watch the movie to uncover and find out about. I think a lot of people walk around looking tough but carrying pain inside, and I wanted to explore that.
Q: Ridge, your character, is such a contrast to the city life of Joy’s character. How did you prepare to embody that type of energy?
Tosin: First of all, he’s a country boy—he’s a farmer, got his own cattle and everything. So I did some thinking about that life. A lot of that work is solitary, a lot of it is away from the city and modern life. I tried to sit in that space—that kind of solitary and deeply internal personality—and that’s what I channeled. It actually wasn’t too hard for me. I’m from Kansas. I grew up in a small town—Greensburg, Kansas—and I saw rural farmers. I knew what that was like, and I drew from those experiences.
Q: Now, this is a Tyler Perry–produced film. What was it like collaborating under his creative helm?
Tosin: Oh, it was great. Everyone knows Tyler works fast. He’s such a force in this industry, both creatively and as a leader. So we knew we had to be really prepared and ready. We drilled and rehearsed beforehand, and when it came time to shoot, it was like, “Okay, time to rip it and go.” Tyler did such a good job of letting us trust our instincts. For the most part, he allowed us to go full force, but if I ever needed another take, I’d say, “Hey, I think we should go again,” and he’d allow it when it was necessary. Seeing how his filmmaking system operates—a system that’s so revered and so well-oiled—was an honor. Truly an honor.
Q: Dope. Now, the movie leans into this idea that love finds us when we least expect it. Does that theme resonate with you personally?
Tosin: Yeah, absolutely. Finding love in the places you least expect it—that’s very real. I think what’s cool about my character in this story is that he’s definitely not looking for love in any way, shape, or form. He’s focused on mourning and being by himself. And it turns out that the thing that’s most annoying to him ends up being the thing that helps open his heart to new possibilities. You never know what it’ll be, and I think that’s a beautiful reminder—to keep our hearts open.
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Q: Dope. Now, the movie leans into this idea that love finds us when we least expect it. Does that theme resonate with you personally?
Tosin: Yeah, absolutely. Finding love in the places you least expect it—that’s very real. I think what’s cool about my character in this story is that he’s definitely not looking for love in any way, shape, or form. He’s focused on mourning and being by himself. And it turns out that the thing that’s most annoying to him ends up being the thing that helps open his heart to new possibilities. You never know what it’ll be, and I think that’s a beautiful reminder—to keep our hearts open.
Q: So, for this interview, the shoot that we’re doing is for Kolor Magazine. The theme is competition, and the tagline is “How the Game Is Played.” As a creative, how do you define winning? Is it awards, opportunity, longevity, or something else?
Tosin: Okay, competition—let me wrap my mind around that for a second. I will say, first of all, in the movie, there is some competition. Let’s just put it like that—you don’t exactly know who’s going to get the girl or who’s going to get the guy, and that’s part of the fun.
But personally, I don’t really look at life competitively. I think that can be a temptation, even a trap, to think everything’s got to be about winning. For me, the competition has always been against myself. The goal has always been to be the best version of me and to create the most moving art that I can.
That seed has been in me since I was young. I’ve never been interested in chasing awards or validation. I just want to make things I believe in. The competition is making the thing that feels truest and most honest to my heart—something that reflects my philosophy and what I think helps people. So, if there’s competition, it’s about shining light where the light needs to be seen. And the more light I can shine, that’s what makes me feel like I’m winning.
Q: You come from a theater background, correct?
Tosin: Very much so.
Q: In that space, collaboration is key, but there are so many moving parts that the spotlight can feel limited. How did that early environment shape the way you navigate larger, more commercial spaces?
Tosin: Theater is one of the most collaborative art forms there is. You grow together, even if you’re not the best actor, director, or stitcher. The process itself allows you to evolve through collaboration—it’s very beautiful.
Film, though, is different. It’s “go time.” Every second costs money, so you need to already be at a professional level. Theater trained me to hone my craft, become confident, adaptable, and collaborative. Those skills translate directly to film.
When I’m on set, I bring all of that. I spent years doing improv comedy in Chicago, years in theater in Kansas City, and years learning independent filmmaking. Now, when I’m on a production, I approach everything with a clear vision, but I stay flexible. I respect every position on set because I’ve done those jobs. It’s about being part of a whole.
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Q: Not only do you act, but you’re also a writer and filmmaker. Projects like Pulpit and On Sight—how has your experience behind the camera influenced your performance in front of it?
Tosin: Oh man, it’s everything. Being behind the camera is half my heart. Guiding and creating stories gives me a deep appreciation for every moving part. Every job on a film set has its own expertise, its own challenges, and you have to recognize that you’re one piece of a larger puzzle.
Filmmaking is the greatest metaphor for life. As an actor, you might think you’re the star, but you’re really just a part of something much bigger. It takes every department to make the picture whole. That awareness connects deeply to my faith—you have to have vision, play your part well, and serve a greater purpose. Whether that greater cause is the film’s vision or something larger in life, the metaphor still applies. It’s divine to me. It’s about being part of something bigger than yourself.
Q: You’re first-generation Nigerian-American, right?
Tosin: Yeah, yeah.
Q: How has your heritage shaped your sense of drive?
Tosin: That’s probably the reason for it! Nigerians don’t take second place. We have a saying, “No dey carry last.” Everything is about excellence and excelling. My parents wanted me to be a doctor, like so many Nigerian parents. But when I committed to acting, it became clear—they needed me to be the best. That expectation pushed me to give everything I have, and eventually, they gave me their full support.
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Q: Let’s talk about representation in film—specifically Black representation. There’s been ongoing conversation around opportunities between African-American actors and Black actors from abroad. What’s your perspective on that?
Tosin: It’s definitely a complex topic. I understand why people feel frustrated—sometimes it seems like roles about specific Black American experiences don’t go to people who’ve lived them. There’s also a broader cultural bias in America that tends to favor Europe or anything that seems “foreign,” and that bleeds into the industry.
But at the same time, talent is talent. I think what we’re seeing now is the true diversification of Hollywood—a melting pot that reflects the world. There’s space for everyone to win. I would never want to take away someone else’s opportunity. We all deserve to tell our stories, and we can all be celebrated.
Q: What brings you joy off the screen right now?
Tosin: Writing and directing—a lot. I’ve been directing theater and some of my own films. I just finished a new screenplay—actually, my first comedy. I usually write dramas, so I’m really excited about it. There’s nothing that gives me more peace or makes me feel more aligned with my purpose—and with God’s vision for my life—than creating new work. I’ve got more films coming, so stay tuned.
Q: I was on your Instagram—I see you’re heavy into fitness. Where did that come from?
Tosin: (Laughs) Maybe from being a wimp as a kid! But honestly, it’s about peace of mind. I find a lot of clarity in the gym. Some of my best ideas and breakthroughs come while I’m working out—it’s part fitness, part workflow. It keeps me grounded mentally and emotionally. It keeps my body right, my emotions regulated, and my spirit balanced. And yeah, I get to feel proud of how I look, too.
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