Green & Black’s launch their Velvet Editions collection with a Red Riding reboot. This time, Red Riding Hood has more than one Big Bad Wolf to evade. However, it’s going to take more than a lupine threat to thwart her indulgence.

It’s a fetching spin on the classic yarn. Sun rays poke through trees before Red’s pursuers meet their match. Meanwhile, a seductive cover of the Fugees’s ‘Ready or Not’ complements the forest chase.

Having wisely ditched foodies Michel Roux Jr. and co., the premium brand project a more accessible image. The chocolate makers have also ditched the familiar Fairtrade label in favour of their own Cocoa Life stamp so hose with an ethical sweet tooth may need further convincing... but this is a great start and further evidence that Academy's new wunderkinder Dorian & Daniel are going to have a stellar career.

This atmospheric film for Prudential explores the work of Jadav Payeng - dubbed the 'Forest Man of India'. After being inspired as a teenager, Payeng has spent the last thirty-eight years planting trees on deserted sandbars near his home - eventually amassing a forest of over fourteen-hundred acres.

His unwavering dedication to improving the environment is depicted lovingly here by director Asif Kapadia. Atmospheric visuals follow Payeng on his solitary mission, while a washed-out grade gives the landscape an almost unearthly look - until the brilliantly green trees bring it back to life.

Payeng's understated voiceover is an excellent accompaniment, particularly when he undersells his huge achievement as having done 'quite a lot'. The 'consistency is the only currency that matters' tagline fits the film well, lending the brand an air of trustworthiness. Visually stunning work.

This charming ad from IKEA's French arm depicts a budding love story... one slightly impeded by awkwardness, loud music, and fluffy socks. While IKEA ads for the Scandinavian and UK market often depict the grim realities of life - divorce, loss, and parental neglect are all fair game - this is an altogether more lighthearted approach.

A bloke moves into a new flat and soon meets his neighbour... by virtue of her inconsiderately loud dinner party. The comic beats here are well timed, as we feel the guy's increasing resignation that he's destined to make a fool out of himself in front of his crush forever. Lucky for him, she decides to make the first move.

Entertaining work from director James Rouse. Even more so if you imagine a super reading: "and that was the last time anyone heard from him" at the end.

AMV BBDO have struck another fierce blow against the orthodoxical coyness used to advertise sanitary protection products with a brilliant commercial for Libresse. Director Daniel Wolfe's film breezily confronts an audience accustomed to the conventional approach in which red is blue, and women are shown conducting themselves as though in denial of the reality of their menstrual cycles.

Existing advertising in this sector has been consistently attacked by female comedians for its condescension and this ought to have prompted a rethink years ago. Our industry has been slow to jettison an outdated approach, and it's hard not to attribute this to male-dominated creative departments.

Having said that, observant readers may notice that the credit list for this film is skewed towards maleness and deduce that it isn't necessary to have a fairer balance behind-the-scenes to achieve a more enlightened approach. But even if this inference is reasonable, it's probably more accurate to say that creative departments are adept at paying attention to the Zeitgeist and that this commercial is the result of reading the writing on the wall.

Similarly, there are those who will question the decision to hand this task to a male director. Not because anyone could have done a better job than Daniel Wolfe but because of the optics. Somesuch's Sally Campbell has already used social media to pre-empt this criticism in characteristically robust fashion but it's valid to ask whether this was a project that should have been handed to a female director. At the very least it would have avoided the criticism that Campbell anticipates. More than that though, it would have handed useful ammunition to those charged with gaining maximum PR for this project.

In an ideal world where equality reigns we might be able to agree with Campbell that it's: "total, old fashioned, backward bullshit" to focus attention on the gender of the director but as the #MeToo phenomenon has made horrendously plain in the last few days, we are a long way from that world.