Jack, there is clearly improvement in your trills and La Minona! Well done! Trills are something that will get slowly better with practice, and also as the left hand technique improves in general. There are a couple of things in your playing, not particularly related to this lesson, which I think you should pay some attention to, if possible.
The first one is planting. You seem to plant your right hand fingers quite well ahead of the time, which makes your playing sound a bit staccato-like. It may be that you only do this when recording, for extra security, but nevertheless it may be something that you're not fully aware of. I also think it is something that many beginner classical guitarists are not aware of, unless it is pointed to them (at least that was the case with my playing when I started to study classical before the big break). Breaking the habit requires at first constant effort to make the notes sound as legato as possible, i.e. to reduce the planting time to the absolute minimum you can get away with. After a while it becomes fully automatic. Reducing the planting time is also needed in order to play fast passages, so in fact learning to play legato is half of the skill of playing fast.
The second thing is your right hand position. It may be that the camera angle you use exaggerates it a bit, but to me it looks like your right hand is bouncing to the rhythm of plucking the strings. When I started to analyze it further, I noticed that your hand position is very low, and your fingers bent nearly 90 degrees from the second joint, so that the first segments of your fingers (counting from the wrist) are nearly parallel with the guitar top, and second segments perpendicular to it (or actually bending over, so that the tips of your fingers are pointing slightly upwards). From this position it is impossible to pluck the string using mainly your major knuckle (as one should do), and instead you do most of the plucking motion with your wrist and elbow. This makes the plucking motion direct outwards rather than inwards, which makes the sound thin, and the playing seem difficult. What you should do, is to lift your palm slightly to let your fingers straighten out a bit. The general rule when playing free stroke is that when playing for example the first string, the major knuckle should be positioned on top of the 2nd string, etc. The exact hand position will depend on individual anatomy, but the basic plucking motion should be this: Keep your two smaller finger joints in a fixed position (i.e. slightly flexed) as you plant and pluck the string using the major knuckle only. I think it's ok to slightly flex the middle joint when plucking so that you miss the next string when your hand position is not ideal (for example for the string crossing), and you need to do so nevertheless when the finger returns to its "ready position" (otherwise it would make contact with the string that it just plucked). Furthermore, just before releasing the string, the finger should be pressing the string half towards the bottom of the guitar, and half towards the next string, i.e. 45 degrees between those two directions. This should give the best sound, and provides an easy way to control the volume (for increased volume, apply more pressure to the string before releasing). I haven't mastered this myself, as my free strokes tend to be directed towards the next string (except for brief moments when I do get into the "zone"). Anyway, I think your planting issue may also be related to your hand position, so it's worth giving some thought and experimentation. Changing your hand position probably isn't something that will happen overnight, but I think it would pay off in the long run to make notice of what your right hand is doing and try to adjust it every now and then.
At least this is what Bill Kanengiser teaches on his "Effortless Classical Guitar" and "Classical Guitar Mastery" DVD's, and he is very convincing at it. I'd recommend those DVD's to anyone who's studying CG, as it mostly covers basic technique that is useful at any level of playing. You can also find some clips of those DVD's at YT.
Stewart, that's a good question about the pull-off parts of the trill. I tend to agree with Richard. The trills could be longer than a pull-off - hammer-on - pull-off -sequence, (and that's where using two fingers instead of one will show its strength), and generally they are intended to be performed fast. Doing a sideways pull-off stopped by the next string then really isn't an option, because you cannot get that finger back to the hammering position fast enough. For the last pull-off of the trill it is important to leave the string ringing clearly, so a more sideways angle could be used. It very much depends on the context of the trill though (and which string it is to be played on; bass strings do not need much force nor very sideways angle to sound loud), and you need to ask yourself how much volume is required? Also you need to keep in mind that pull-offs aren't either sideways or vertical, but everything in-between those extremes. For each situation you need to experiment and find the technique and angle that works best there.
Generally I think when doing a trill, the next string should be damped by either the left hand index finger (usually possible by laying the index finger flat similarly to half barre, unless the index finger itself is doing the trill), or one of the right hand fingers, because it will tend to ring unless damped.
Mark, your trills sounded very good and even to me! The only criticism I have is that you played the final trill (dcd-c) one time extra
La Minona should present very little challenge to you, unless you come up with something difficult as the improvised additions
Ned, something that may or may not be beneficial for you, is to know that good hammer-on sound doesn't have much to do with strength, but more to do with speed. When you practice the trills or simple slurs with the little finger, the wrong approach is to try to press hard with the finger; the right one is to concentrate on the speed of which the finger contacts the string. As the little finger has very little mass, it is also beneficial to use the clockwise wrist rotation for the hammer-on, which combined with the finger movement will dramatically increase the speed of which the finger tip meets the string.
Last night, I had my second attempt at changing to Savarez 500PR strings. The first time 1st string broke at the nut when tuning it up to pitch. After buying the rectified treble set I had a second go, and this time the 1st string broke only after I had changed the rest of the strings. Needless to say, there was something in the 1st string slot of the nut that keeps cutting the strings, but regular nylon strings seem to be handling it better. I did a little filing of that slot, but as I was again out of Savarez rectified 1st strings, I decided to put on the Hannabach PSP set (with polished basses), and will try to record La Minona with them again tonight. The bass strings feel somehow "sticky" against my thumb nail, which I hope will be temporary.