Wunmi Mosaku Reflects on ‘Sinners’ as a Profound Tale of Love and Heritage

‘Sinners’ has become a modern cinematic phenomenon, inspiring detailed analysis of its symbolism, cultural themes, and narrative depth across social media and podcasts. Despite the buzz, Wunmi Mosaku prefers to keep a distance from the flood of online commentary.

“I haven’t sought out reviews or opinions because I’m wary of the internet and uncertain about what I might encounter,” Mosaku shared during a video interview from her home in Los Angeles.

At the heart of ‘Sinners’ is Mosaku’s captivating role as Annie, a hoodoo practitioner whose soulful presence anchors the film’s blend of period horror, romance, grief, and musical elements. The 38-year-old actress’s diverse body of work mirrors these complex themes.

Mosaku’s previous roles include a time-traveling agent in ‘Loki,’ determined detectives in series like ‘Luther’ and ‘Passenger,’ and a grieving immigrant mother in the BAFTA-winning ‘Damilola, Our Loved Boy.’ Notably, her performances in ‘Lovecraft Country’ and ‘His House’ explore racial tensions through horror narratives influenced by the post-‘Get Out’ genre.

Drawing from her own experience as a Nigerian raised in Manchester, Mosaku initially felt disconnected from her Yoruba roots. Preparing to portray Annie involved immersing herself in the culture of the Mississippi Delta and the practices of hoodoo, which ultimately led her to a deeper understanding of her ancestral religion, Ifa.

“Through exploring Annie’s character, I uncovered a part of my heritage I hadn’t fully known,” she reflected.

In this conversation, Mosaku delves into the complexities of balancing her Nigerian and British identities, the emotional depth of portraying mothers in mourning, and the distinct dynamics between the characters Smoke and Elijah in ‘Sinners.’ The following are selected excerpts from the interview.

The initial script you received was a seven-page scene depicting the reunion between Smoke and Annie. How did that influence your approach to the role?

“My first thought was that Ryan Coogler is a remarkable writer who deeply understands love, connection, forgiveness, grief, joy, and faith. The scene was beautifully crafted. When Ryan explained the story of ‘Sinners,’ I immediately recognized it as the greatest love story ever told. The film is filled with profound expressions of love—whether between Annie and Smoke, Annie and Elijah, or Mary and Stack.”

“I was instantly captivated once I heard that Ryan Coogler was involved; I didn’t even need to finish reading the scene.”

You’ve mentioned distinguishing between Annie’s relationships with Elijah and Smoke. Could you elaborate on that?

“Smoke represents Elijah’s public persona—his smoke and mirrors—while Elijah is the true person Annie knows and loves beneath the facade. By the film’s end, Annie calls him by his real name, emphasizing her rejection of the Smoke identity. This distinction is central to the story.”

Have you had to reconcile your British identity while preparing for this role?

“To portray Annie authentically, I had to understand Louisiana’s culture, the bayou, and hoodoo—elements that shape her daily life, speech, and worldview. For anyone embodying a character, such immersion is essential. As a dark-skinned woman raised in the U.K., I recognize some shared experiences, though I also carry the ancestral memory of colonization and assimilation, themes woven into the film.”

“While my British accent sometimes affords me certain privileges, I remain aware that not everyone has the same opportunity to advocate for themselves.”

After winning a BAFTA, you once described feeling as though your career had reached a peak. Having since participated in numerous projects, does that sensation persist?

“That feeling hasn’t disappeared, nor do I necessarily see that as negative. It keeps me grounded and reminds me not to take anything for granted. My focus is on the craft, not the accolades. The BAFTA now feels more like a milestone on a longer journey rather than a pinnacle.”

Assimilation is a recurring theme in your work. How did you engage with this subject while working on ‘Sinners’?

“It’s a deeply personal issue. Born in Nigeria and raised in Manchester, much of my cultural heritage was diluted through limited interaction with my extended family and community.”

“For example, my Yoruba teacher once told me he no longer visits the market because, after marriage, social customs restrict such activities. These kinds of traditions and unwritten rules are unfamiliar to me, and realizing what I’ve lost, including my language, is heartbreaking. Despite studying Yoruba twice a week for five years, it remains challenging.”

“Playing Annie was transformative because hoodoo has roots in Ifa, the Yoruba religion. Through this role, I connected with a part of myself and my ancestry I hadn’t fully understood.”

Both your roles in ‘Damilola, Our Loved Boy’ and ‘Sinners’ involve mothers coping with the loss of a child. How has your perspective evolved between these portrayals?

“Now that I am a mother, I bring a greater depth of understanding to such roles. I’ve lived and experienced more, and while I recognize how much I still don’t know, my perspective has unquestionably grown. It would be intriguing, though possibly difficult, to revisit my earlier performance through my current lens.”

Your family was once hesitant about your acting career. Have their views changed?

“My mother and sisters have always been supportive, encouraging me to follow my path. My father has also come around. This is my chosen profession—there is no turning back, only growth and transformation.”