Qatar owns Zohran's Mamdani's Mother. Here's why it's a problem
Qatar’s arts patronage meets U.S. politics: New revelations tie filmmaker Mira Nair’s projects to son Zohran Mamdani’s mayoral campaign trail.
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In the glittering world of international cinema, where art meets diplomacy, a new investigation has uncovered a decade-long financial lifeline from Qatar to acclaimed filmmaker Mira Nair, the mother of New York State Assemblyman and mayoral hopeful Zohran Mamdani. According to a New York Post exclusive published today (Sunday), the gas-rich Gulf state poured resources into Nair's projects through its cultural arms, raising eyebrows about foreign influence in American politics and culture. As Mamdani campaigns on progressive platforms like housing justice and police reform, the revelations spotlight uncomfortable ties to a nation criticized for bankrolling Hamas and human rights abuses.
The funding trail begins around 2009, when Qatar's cultural institutions, overseen by Sheikha Al-Mayassa bint Hamad Al-Thani, sister of Qatar's emir and a powerhouse in global arts, began supporting Nair's endeavors. This included film productions, stage adaptations, and even programming linked to the controversial 2022 FIFA World Cup in Doha, where Nair curated events celebrating diversity amid global outcry over migrant worker deaths and LGBTQ+ restrictions. Nair, an Oscar-nominated director known for socially charged films like "Monsoon Wedding" (2001) and "The Namesake" (2006), has long championed stories of migration, identity, and injustice, themes that align with Qatar's soft-power push to rebrand itself as a cultural hub.
From my knowledge, Nair's collaborations with Qatar extended through the Doha Film Institute (DFI), which she has publicly praised for empowering filmmakers from the Global South. The DFI, backed by Sheikha Al-Mayassa's Qatar Museums, has invested millions in international cinema, including grants for projects like Nair's adaptation of "A Suitable Boy" for BBC and Netflix. This partnership fits Qatar's broader strategy: using arts to polish its image while facing accusations of sportswashing and funding Islamist groups.
The Post's probe ties this to Mamdani, a 33-year-old Democratic Socialist of America (DSA) member representing Queens in the state assembly since 2021. Born in Uganda to Nair and academic Mahmood Mamdani, he immigrated to the U.S. as a child and rose as a vocal critic of Israel, supporting Boycott, Divestment, and Sanctions (BDS) and labeling Israeli actions in Gaza as "genocide." His mayoral campaign, launched in 2025, emphasizes "fun" progressive policies like free public transit and ending misdemeanor charges, positioning him as a youthful alternative in a crowded field.
Critics, however, see hypocrisy. Qatar hosts Hamas leaders and provides hundreds of millions in aid to Gaza, actions Mamdani has defended as humanitarian. Yet, the regime's record, including the deaths of thousands of migrant workers during World Cup preparations and suppression of dissent, clashes with his advocacy for labor rights and equality. "The close connection between Nair’s work and Qatari funding stands in sharp contrast to the progressive values Mamdani promotes," the Post argues, suggesting it undermines his stance on issues like Palestinian solidarity.
Fueling the fire, Sheikha Al-Mayassa, a billionaire art collector dubbed the "most powerful woman in the art world," has openly boosted Mamdani's bid. In recent social media posts, she shared poll numbers showing him leading among young voters and endorsements from progressive figures, tagging him with messages of support. This isn't her first brush with controversy; she's faced scrutiny for Qatar's art acquisitions amid allegations of influence-peddling.
Mamdani swiftly dismissed the report as "guilt by association," insisting his campaign receives no Qatari funds. "We're focused on real issues facing New Yorkers, not manufactured controversies," a spokesperson told the Post. Nair, for her part, has not commented publicly, but her history of defending artistic freedom suggests she'd frame the partnerships as cultural bridges, not political endorsements.
This isn't isolated; Qatar's tentacles reach deep into U.S. institutions, from billions in university endowments (e.g., at Northwestern and Georgetown) to Hollywood investments via Miramax. Critics like the Foundation for Defense of Democracies argue such funding buys silence on Qatar's Hamas ties and human rights violations. In Mamdani's case, it highlights the tensions within progressivism: aligning with anti-Israel causes while navigating alliances with autocratic funders.
As New York's mayoral race heats up, polls show Mamdani trailing establishment Democrats but surging with Gen Z, the story could sway voters wary of foreign entanglements. For now, it points to a timeless truth: In politics and art, money talks, but transparency shouts louder.