OK, bar 0 is fixed, though it it is still a little slower than bar 1. You're lingering on the very first note of the piece. That's OK, but only if it was intentional.
The ending is timed better, but is now perhaps over-corrected. I said the rest should be longer and you obligingly made it longer, but it almost seems too long now and has me waiting for a cuckoo to jump out. What's worse, though, is that the rest is also too quiet, it sounds like edited-in artificial silence because I can hear the background hiss disappear, and then reappear just before the chords. If I'm right, this is not good, you should be able to "play" this rest unaided.
Bar 7 isn't fixed, alas. Your LH is still playing three chords on the 4th beat where the RH has the dotted pattern. Something in your subconscious seems to have picked up the wrong idea that this is one of those "difficult" rhythms in which the RH plays a dotted quaver plus semiquaver against a triplet in the LH, but in fact it's an easy rhythm, the LH should just play 2 quavers against the RH dotted pattern. You have no trouble playing the exact same pattern in bar 16, twice (on beats 1 and 4), so I can't understand why it should be a problem in bar 7.
As you know, in general it is usual to emphasize the first beat of every bar relative to the other beats. But in this piece, in bars 1 to 6 and similar bars, where the RH only plays on beats 1 and 4, there is a sighing figure needing to be brought out by adjusting the balance of emphasis between the two beats, by weakening the 1st and strengthening the 4th. And indeed you are doing so, but I feel you are overdoing it, and making the upbeats somewhat too strong now in relation to the downbeats to which they lead.