Firstly, NO filter will help. Filters can only make it worse.

Your image has all or most of the data need. I edited your thumbnail using only the tools built into the phone. Its just 2 minutes work. (See attached.)

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If you face this situation very often you might consider a new, less complex, lens. Worst lenses will be 10x "do it all" zooms. Best is a modest aperture prime. Rather often the solution is a 3x or 4x modest aperture zoom like 24-70 or 70-210, f/4 in either case (or both).
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You have made the very useful observation that haze very often has a pronounced blue tint. My preferred method of using that fact is to use the HSL tool to darken and desaturate blue. If there's a lot of blue sky in the shot there'll be a limit to how far you can go with that technique, but it's so effective it's worth applying it even if it's just partial. I've often gone to the extent of desaturating and darkening blue globally then selecting the sky, water or whatever and reintroducing blue to replace what was lost in those parts. Moderate use of split toning can also be used to strengthen a diminished ambient colour (with the technique just described that would be mostly in the highlights).

Again you make the useful observation that haze causes a loss of contrast, sharpness, detail and saturation. I find that a combination of Contrast (mostly) and Clarity (tweaks) is best for dealing with the loss of contrast. The HSL tool allows colours to be strengthened individually as required.

One of the more effective adjustments that you can make to reduce haze is to lower the highlights (and to a lesser extent the mid tones if you have that option). The effect of the Shadows slider usually extends up into the mid tones so lifting the shadows too high can aggravate haze in a way that's difficult to mitigate.

But since most editors nowadays have a Dehaze slider, that's the best single slider adjustment. Often with an extreme adjustment of Dehaze the blacks become too pronounced and solid, which can be mitigated by moving the Blacks slider to the right a little. Plus if you apply adjustments via selections you can avoid aggravating haze by simply avoiding it, or alternatively avoid problems elsewhere by limiting your adjustments to the haze itself. Global adjustments will always be more limited in that scenario.

Many things can create this hazy look.

> Dirt, dust, and fingerprints on front or rear or both lens elements — Get some professional lens cleaning tools and be sure your lenses are all spotless before you use the camera. It's amazing how many folks forget to check this. I clean my lenses before any photo or video event.

> Failure to use a lens hood designed for your specific lens — Don't work "against the light" without the correct hood on your clean lens. I always use a lens hood/shade, unless I'm using my short macro lens within two inches of a subject. It hides stray light sources and protects the camera should I drop it.

> Using ANY sort of filter when pointing the camera toward a light source — Avoid filters when possible. Wear the camera around your neck on a good neck strap, or secure a tripod with sandbags and such, and keep the lens hood on, so a fall won't kill your front element. If you must use filters, be sure they are absolutely spotless. Clean them as you would any fine lens, on both surfaces.

> Moving a camera from a cold to warm environment — In humid conditions, atmospheric moisture will condense onto cold surfaces. Allow your gear to stabilize in temperature before removing the lens cap.

> Atmospheric haze — In early morning, or after a rain, there is often fog or haze in the air.

> Air pollution or smoke — At a scout camp, this is common... Near industrial sites, it can happen. In cities plagued by inversion layer topography, it can be a common problem!

> Bad white balance — Are you using a target to set your white balance? A white balance target can get rid of blue tints in shadows, or the tint from an overcast sky, whether you're recording JPEGs baked in camera, or saving raw data files. (It's used with the eyedropper tool in post production of raw files, and used with the custom/manual/pre-set function when recording JPEGs at the camera.) Auto White Balance is not a panacea for JPEG photography, although using it for raw capture isn't wrong if you have a gray balance reference in the scene.

> Bad menu settings for JPEGs, or ignorant processing practices when working in raw editors — Settings matter. You can get great JPEGs at the camera in many situations if you "pre-process" your images by changing the JPEG engine's menu settings. This takes a lot of testing and trial and error, but when you know what to change, your JPEG captures improve dramatically. If you edit raw files, use a freshly calibrated and custom profiled monitor and follow the software maker's guidelines for using their tools.

UV Haze filters really only work for distance scenes taken at high altitudes. They helped a LOT with film, by killing UV, which tends to fog film in a part of the spectrum humans can't see. Modern digital cameras have UV (and IR) filters built into their sensors, so they are mostly immune to UV below about 6000 feet (about 1800 meters). If you're above 6000', MAYBE they'll help, but I doubt they will help at close distances. They often CAUSE flare when photographing into/toward the light source.

This happened to me on a recent shoot when I took the camera out at the location. I had forgotten to leave the AC off or otherwise protect the gear from cooling during the ride. There was a faint fog in the glass that I didn't notice and I was in a panic later that night when I saw that the first 50 were terrifyingly soft. Thankfully it went away as the lens warmed up.

Secondly, if you have a lens hood you shouldn't have this haze unless the sun in the field of view. In that case you are left to post processing dehaze as last resort.