Great work! - really enjoyed hearing your rendition. Are you planning to bump the tempo further in time or are you happy with it as is?
My real suggestions are fairly subjective, just relating to the individual interpretation. So take it of leave it. Maybe your doing some of them anyway, I did watch this while on a noisy bus without earsphones

So, I like the opening to be quite strong, and I imagine the first 8 bars to form a kind of cycle o the water falling over the top of a VERY high waterfall, crashing into the river below, and causing small ripples further down stream.. It goes kind of like this:
Bar 1-2: the first bit of water blasts over the top of the waterfall.
Bar 3-4: this is similar to the first but more about the water falling down through mid air than crashIng over rocks at the top. There is an accent on the RH "D" for the last beat. For me this forms a more subtle part of the image - my view kind of pans backward and I take in the rest of the surrounds (trees, birds etc)
Bar 5-6: the water draws close to the river below here, at the top of the RH run, and as the LH "D" octave hits - this is the moment that the water crashes into the river.
Bar 7-8: I like this to evoke the more subtle water movement (maybe this is not so physically realistic for a waterfall

) the LH G is somewhere around mf, it must be very resonant but not loud or harsh, RH is beginning p an there is a cresc, it ha a real floating kind of thing about it. The imagery here is more about these small ripples appearing and then spreading (cresc is the spreading). The accent on the D#/Eb at the end changes my view again as the water seems to tail off at the top of the water fall before another surge comes over the top and we return to the C major arp.
....
That aside, and using less imagery now - I tend to buy into the softer/no pedal in bar 17 that a lot of performers do, but only momentarily. 17-18 and 19-20 have these little swells like <><.. But they are all in the softer dynamic range. The the F bar 21 is loud, but between the hands I like an fp effect and then a long cresc up to the beginning of the A7 arp bar.
Bars ~30-32 are some of the most dramatic in the piece, along with the ending, I really bring them out. The left hand I play very heavily there.
the D7/Gsus and Cmaj7/Fsus#4 bars - I kind of romanticise these a bit, the are extremely expressive bars. On the decent pollini does this kind of accent and echo thing with the first two crotchet beats are stronger and the second two echo them. This can be pretty challenging I find because you are playing the part with the changing melody notes much softer. It's difficult to balance the echo effect and bring out the melody the right way.
I like a big cresc for the section where the RH is playing 2 octave patterns.
Small amount of rit. for the tail end of the E major arp that transitions to G7 before returning to the original theme.
During the ending, you want to make sure there is excellent clarity on the decending chromatic shifts, you bring out the top RH notes in chromatic units a semitone apart, rather than as arp patterns an octave apart... Pollini also does this really well.
Anyway, this is all just MY thoughts, no need to pay too much attention.
AJ