Arsenal’s kit deal with Puma has produced some memorable work. This slick 90” film eschews first-team regulars in favour of unsigned talent. Hair cut and nails done, this diverse group has business to attend to.

The six converge on a multi-storey car park. It’s a far cry from the Emirates, but some handy oil drums make it a pitch. As the sun goes down, this three-a-side game sparks into life.

Naturally, each player works the ball beautifully. Director Peter Lee Scott captures deft flicks and close-quarter flair. Each player receives their moment in the spotlight, too… as does Arsenal’s new camouflage-inspired line.

The brand position themselves as one for both on-and-off field action. The film incorporates much of Puma’s football apparel, but the Gunners’s Camo range is the headline act. Lovely closing beat as a spectator kickstarts her own bid for first team glory. Next season, perhaps.

The latest film in Nationwide's wide-reaching poetic campaign sees Tyreece Akwasi Asamoah ruminating on the media's portrayal of information-age babies 'Generation Z'.

While young people are depicted as 'lazy and meek, glued to smartphone screens', he explains, they are actually the ones fighting to build a future from the ashes of Trump, Brexit, global warming... you get the picture. Far from burying their heads in the sand, they're busy helping each other towards a brighter tomorrow.

This film marks a change in format for the campaign: an acknowledgement of direct performance to camera rather than the somewhat shaky attempts to make poems seem spontaneously in media res in past instalments. The vlog format works well with performance poetry - especially given the subject matter of this ad.

As we’ve seen with the likes of Gio Compario and Aleksandr Orlov, a slight tweak here and there can keep long-running campaigns fresh. Say what you will about Juan Sheet - Plenty’s resident Spaniard has staying power. The matador first appeared in 2010 and has been spooking housewives ever since. It’s about time he received an upgrade - meet Super Juan.

The brand’s new two-rolls-in-one effort coincides with a new costume. Now packing a utility belt and even tighter spandex, Juan shows off his new powers with gusto. MindsEye’s Luke Bellis handles the campaign’s VFX injection well. Should also give the kitchen roll a boost as shoppers battle shrinkflation .

P&G's anti-racism 'My Black is Beautiful' initiative has been running for over a decade, and it's still going strong as BBDO New York and Malik Vitthal deliver its most powerful ad yet.

This two minute film travels through time to explore 'the talk' which black parents in America still feel they have to have with their children. From early conversations in the fifties and sixties to the present day, we see parents explain that their kids will have to be smarter, work harder, and be more careful than their peers, because anything they do will have their race as a caveat.

Poignantly, the film opens and closes with a mother explaining to her daughter that being called 'pretty... for a black girl' isn't a compliment. Modern day examples are especially harrowing, from worries about a teenage son getting stopped by the police to coaching a kid on how to come out of a traffic stop alive - situations that are presented not as 'if', but 'when'.

At a time when brands frequently prove to be tone-deaf when it comes to social issues, it's refreshing to see a hard-hitting, sincere film like this from P&G. There is no feel-good ending, no cans of Pepsi saving the day, just the thought-provoking start of a conversation about racism which America desperately needs to have.

This quirky ad for US popcorn brand Pop Secret asks an important question: which is better, popcorn or flowers? Hipster characters come to the conclusion that flowers are at an obvious disadvantage - of course - given that they attract 'terrifying' beekeepers. Self-conscious comic timing gives the polished ad a knowing, ironic vibe which works well with the pseudo-vintage aesthetic.

Some viewers will find this approach a bit much but we think Matthew Swanson and his editor have judged the tone perfectly and it's smart to back the audience to work out how it's to be understood.