I love the whimsical style of this.
I feel like what I would say is the biggest constructive feedback I have is that I hear a lot of little places where you could do slightly more interesting things with how you get there, and the overall result would hit a lot harder without having to worry about adding structural complexity.
I.e. in Zwiebel the Witch, 0:19-0:23, my hear wants to hear that little progression end in a major third (forming a major chord in first inversion, instead of the minor chord in third inversion that you have). I'd have to test this to be sure my ear isn't playing tricks on me, but it was one of those parts where it felt like it gets to the same spot but there could be a more elegant way of getting there.
0:42 on that one has like a note that doesn't belong, and I think this is a good spot to point out something I've been noticing a lot more lately about harmony is that really there's a verticality that is appropriate or not appropriate for a given moment, with a necessary tension and release.
That tension and release is one powerful part of composing.
Overall though this is excellent work; I just wanted to try to give you something to work with to focus on, hence the long explanations.