成长于英国南部田园风光中的玛格丽特（丹妮拉·丹拜-阿什 Daniela Denby-Ashe 饰）因为作为牧师的父亲辞了工作，一家人搬到了全然陌生的北方小镇米尔顿。不同于南方的温暖舒适，处于工业革命时期的米尔顿阴冷又脏乱。路上不再是芳香花草，取而代之的是粗鲁的工人，棉絮 飞舞的纺织车间。除了新环境的不适应，还有来自纺织厂的厂主——年轻的实业家约翰桑顿（理查德·阿米蒂奇 Richard Armitage 饰）的盛气凌人及对工人的苛刻，这让玛格丽特对桑顿的第一印象极其糟糕。 　　随着米尔顿生活的加深，玛格丽特渐渐认识到工人粗鲁暴脾气背后的温柔和疾苦，坚定的站在他们一边。和其立场相反的雇主桑顿则对玛格丽特一见钟情，但不善表达的他似乎在无形中把玛格丽特越推越远。二人如同南方与北方，截然相反但又紧密相连……

A young woman is uprooted from her idyllic village in Southern England, has her eyes opened to class warfare in the industrial North, and receives a surprising marriage proposal.

A young woman is uprooted from her idyllic village in Southern England, has her eyes opened to class warfare in the industrial North, and receives a surprising marriage proposal.

Brothers, Kuzey and Guney, are poles apart in character and perception. Despite their differences, the brothers fall in love with the same girl, Cemre.

故事发生在英国工业革命期间，马嘉丽是中产阶级教区牧师的女儿, 她一直享受着英国南部农村特权式的教养。但当她父亲搬家去米尔顿时, 她被迫要适应那里的新生活。米尔顿是一个位于北部的磨房镇，处于工业革命期间，它正挣扎求生中。对于新环境，马嘉丽觉得很震惊。她对尘土，噪声和当地居民粗野的态度都很讨厌……      后来磨房老板，充满吸引人的约翰成为她父亲的“学生”，对这类粗俗和没受教育的阶层，她明显地表现出的她的不满，但随着时间过去，马嘉丽对磨房工人的态度开始转变，她和他们一起工作，与贫穷和疾病对抗。但他会不会从根本上对她的雇员有所改观呢？尤其是对她的秘密暗恋者？

明朝时期，南方某地捕头叶雨笙因索贿被贬至西北双牛堡担任捕快。面对善良淳朴的村民，叶雨笙感觉自己不受重视，于是自导自演了剿匪闹剧，却引来了真正的土匪。生死之际，叶雨笙挺身而出，成长为真正的好捕快。（猫眼电影）

明朝时期，南方某地捕头叶雨笙因索贿被贬至西北双牛堡担任捕快。面对善良淳朴的村民，叶雨笙感觉自己不受重视，于是自导自演了剿匪闹剧，却引来了真正的土匪。生死之际，叶雨笙挺身而出，成长为真正的好捕快。（猫眼电影）

Reporter for a North Korean news service joins the partisans when the Americans and UN forces invade South Korea.

After fighting for their country in the Army, friends Chris and Johnny return to South London only to find their home town has changed beyond recognition. With no jobs the two join local gangs, work their way to the top and become feared hooligan bosses. The only thing that can top war, and threaten friendships, is money and power, but who will stand their ground and come out on top in the violent and bloody battle between North and South?

Four characters, four screens. The audience immersed, as stupefied as in a shopping mall electronics shop. Your attention flickers, trying to take it all in, not miss crucial details. The work seems unlimited in all directions, and it’s dazzlingly overwhelming. But you adjust to the overload. You realize the sound design is gently guiding your attention from screen to screen. You can make your own interpretations, even your own edit, your own film. So you discover moments that seem like outtakes: delightfully unexpected, notable non-incidents in the character’s lives that would usually be off-screen. But here, there is no off-screen.