In a market saturated with the latest must-have kicks to be kept pristine and box-fresh for peak bragging rights, Adidas have taken a contrary approach: celebrating their 'Supercourt' incarnation getting thoroughly trashed.

The campaign has a pleasantly edgy, urban feel, as the young cast ruin their once-white sneakers via toes stepped on at gigs, splatters of hair dye staining leather, and grass ground in during carefree games of football in the park.

Director Yoni Lappin has retained a grainy vibe which suits the film, showing flashes of youthful rebellion and camaraderie executed with equal enthusiasm. Lovely work which bucks the current trend in a satisfying way.

Sardonic fruit juice makers Oasis attempt to harness the Millennial hatred of being advertised to in this tongue-in-cheek commercial. The brand's latest campaign hinges on a single, mutually beneficial message: if the public keep buying Oasis, then they'll stop advertising it. First, the ad's protagonists must keep their heads above, er, water.

It's a solid enough concept, as a couple try to keep their heads above, er, water as a tidel wave of the brand's Summer Fruits variant fills their living room. The VO's delivery could be a little less smug, but it should certainly start a few engaging conversations in the comments section.

A flight attendant describes the moment her world came crashing down - or, crashing into a fruit stand, to be more precise - in this twisty commercial for the New Zealand lottery. Arm in plaster, the woman tells her enthralled nurse how she won the jackpot... and lost the ticket just minutes later.

Like previous instalments in this campaign (including 2018's 'Armoured Truck'), the ad runs a gamut of emotions as the hero experiences joy, disbelief, panic, and acceptance. Needless to say, there's more to her loss than meets the eye.

Even if the denouement feels oddly flat in comparison to what comes before it, the brand still deliver another touching distillation of their values - reminding players that life is a bumpy ride worth taking.

Director Thomas Kelly's bristling study of Muay Thai fighter James Chaney could be termed a nature documentary, so in tune is the protagonist with his beastly side. The Californian insists he must "think like an animal" during a bout, both as a form of attack and of defence. As Kelly makes clear, Chaney is a vulnerable yet potent breed.

We're told Chaney emigrated from the United States to Southeast Asia to - for want of a better phrase - "pick a fight" with anyone willing to take him on. He's been in demand ever since, yet the standard of competition means victory is never guaranteed. The opening shot of Chaney's bloodied face proves it.

The fights themselves are blurry, fraught affairs, with one or two brutal hits made painfully clear for all to see, hear, and feel. Together with Chaney's coiled-spring narration, it's a worthy and expressive look at one man-slash-beast's desire to fight.