The former PM has no valid response when progressives raise a voice over war crimes, so he seeks to mute them. But we’ll take no moral lectures from him

The left, claims Tony Blair, has forged an “alliance with Islamists”. He goes further: this is simply the latest mutation of antisemitism. Extraordinary accusations require extraordinary evidence. Yet unlike with his illegal war on Iraq, our former prime minister has not even troubled himself to assemble a dodgy dossier.

This latest tirade was published by the Free Press, a woke-bashing, pro-Israel publication founded by journalist Bari Weiss, now accused of pro-Trump censorship in her new role as editor-in-chief of CBS News. The substance of Blair’s charge is what he calls “opposition to Israel”. This has become an increasingly familiar allegation. As the popularity of the Green party of England and Wales surges, its opposition to Israel’s genocide is recast as sectarianism.

Owen Jones is a Guardian columnist

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Jude Chehab turns the camera on the maelstrom – and slow liberation – after her mother’s expulsion from controversial group al-Qubaysiat

Opening the Pandora’s box of her family secrets, Jude Chehab makes a complex and moving documentary debut that unfolds both as an investigation and as a kind of intergenerational therapy. For decades, her mother, Hiba, was devoted to al-Qubaysiat, a highly secretive female Muslim order that operates in Lebanon and Syria. Chehab’s grandmother Doria had also been a follower, and the film-maker herself was initiated into the group as a young girl. For the two older women, this all-female religious movement inspired feelings of solidarity and freedom, yet al-Qubaysiat also demanded absolute submission to the leader, known to followers as the Anisa, or the Teacher. And when Hiba was expelled for unclear transgressions, her world fell apart.

In contrast to other documentaries on controversial organisations, Chehab’s film doesn’t sensationalise the tactics of indoctrination. In fact, information about the group only comes in bits and pieces, as revealed by Hiba and Doria. This storytelling choice lifts the focus away from the unseen but powerful Anisa, focusing instead on the emotional maelstrom endured by Hiba and the rest of Chehab’s family. Chehab might have thought of her camera as a potent tool for catharsis, yet when she urged her father to speak on the al-Qubaysiat, his answers were not as scathing as she had hoped, as if he had gone off an imaginary script.

His novel was praised for giving a voice to the victims of Algeria’s brutal civil war. But one woman has accused Kamel Daoud of having stolen her story – and the ensuing legal battle has become about much more than literary ethics

By Madeleine Schwartz. Read by Kate Handford