《コスモ・コルプス》是日本獨立導演長谷川億名耗時四年完成的大型自主製作科幻電影，以新潟縣佐渡島為核心舞台，融合未來文明、宇宙移民、時間意識與紀錄片式影像風格，描繪人類在失去地球之後仍無法逃離的孤獨感。作品延續導演過往《イリュミナシオン》與《デュアル・シティ》的近未來世界觀，同時進一步將科幻概念推向更宏大的哲學與文明層次。
Cosmo Corpus is an ambitious independent Japanese science fiction film directed by Okina Hasegawa. Created over four years with extensive filming on Sado Island in Niigata Prefecture, the movie blends speculative future history, documentary realism, and philosophical science fiction into a deeply human meditation on civilization and loneliness. Structured across three interconnected chapters — “Future,” “Future Jomon,” and “Present Day” — the film explores humanity’s separation from Earth and the emotional consequences of losing connection across time, space, and memory.
電影內容
《コスモ・コルプス》建構出一個跨越時間尺度的龐大世界觀。故事設定在人類文明極度遙遠的未來，當地球資源逐漸枯竭後，人類分裂成兩個截然不同的族群。一部分人類選擇離開地球，成為宇宙漂流的一族「離派」，他們依靠高度發展科技在宇宙中建立新文明，擁有先進技術與幾近超越人類原本形態的生活方式；另一部分則選擇留在地球，成為「殘派」，在逐漸衰敗的環境裡依靠有限資源延續生命。電影並沒有將兩者描寫成單純對立，而是透過平行視角展現兩種文明同樣面對的精神空虛與存在孤獨。離開地球的人類失去了故鄉，留在地球的人類則不斷失去彼此。即使文明發展程度不同，他們都被深層孤獨所吞噬。電影分成「未來篇」、「未來縄文篇」與「現代篇」三部分，每個篇章都像從不同時間點觀察同一種人類情感。未來世界中的宇宙文明帶有強烈低調未來感，並非傳統商業科幻的大規模特效，而是透過聲音、光線、抽象空間與人物行為，營造出人類文明早已變質的陌生氛圍。而「未來縄文篇」則將遠未來與日本古代文明意象融合，把科技與原始信仰並置，形成獨特的時間循環感。電影彷彿在暗示，人類無論如何進化，最終仍會回到對土地、自然與群體連結的渴望。最特別的是《コスモ・コルプス》大量融入紀錄片式拍攝手法。導演長谷川億名多次前往佐渡島，與當地居民建立關係，並邀請大量島民參與演出。電影因此不只是虛構科幻，更記錄了島上真實生活、自然風景與地方文化。海岸、森林、農地與老舊聚落交織在未來故事之中，使佐渡島本身成為電影的重要角色。這種真實與虛構混合的方式，讓作品散發出極為罕見的氣質：它既像未來寓言，也像一部關於地方與人類記憶的紀錄影像。電影節奏緩慢而詩意，大量留白與抽象敘事讓觀眾沉浸在時間流動感之中。角色之間的對話不多，但每個凝視與沉默都帶著文明消逝後的重量。整部電影真正探討的，並非宇宙科技本身，而是當人類跨越時間與星球後，是否仍然能夠理解彼此、感受到情感連結。即使文明進步到可以離開地球，人類依舊無法擺脫孤獨，而那份想與他人建立真正聯繫的渴望，則跨越了所有時代。
English Version
Cosmo Corpus presents a vast science fiction vision that stretches across multiple timelines and layers of human civilization. In the distant future, humanity has divided into two separate factions following the collapse of Earth’s natural resources. One group, known as the “Departed,” leaves Earth in search of new worlds and develops an advanced technological civilization in space. Through highly evolved science and artificial environments, they survive beyond the planet that once gave birth to humanity. Meanwhile, the “Remaining” stay behind on Earth, struggling to survive with increasingly limited resources while their population slowly declines. Rather than framing these societies as enemies, the film portrays them as parallel reflections of the same emotional condition. Those who left Earth suffer from the loss of home and identity, while those who stayed behind endure isolation and gradual extinction. Despite their radically different environments, both civilizations remain haunted by loneliness and the longing for meaningful human connection. The story unfolds through three interconnected sections titled “Future,” “Future Jomon,” and “Present Day,” each exploring different layers of time and memory. The futuristic sequences avoid flashy commercial sci-fi aesthetics and instead create atmosphere through abstract sound design, minimalistic visuals, and emotionally detached environments. Humanity in space no longer feels entirely human, as if technological evolution has slowly stripped civilization of emotional intimacy. In contrast, the “Future Jomon” section merges futuristic concepts with imagery inspired by ancient Japanese culture and spiritual traditions. By combining advanced civilization with echoes of prehistoric identity, the film suggests that no matter how far humanity evolves, people continue searching for connection to land, memory, and community. One of the film’s most remarkable qualities is its blending of fiction and documentary realism. Director Okina Hasegawa visited Sado Island more than twenty times during production, working closely with local residents and incorporating them into the cast. Real landscapes, everyday routines, coastal scenery, forests, and island communities become inseparable from the speculative future narrative. As a result, Cosmo Corpus feels both like a science fiction epic and a documentary meditation on place, memory, and cultural continuity. Sado Island itself becomes a living presence within the story — a symbolic reminder of Earth’s emotional and historical weight. The pacing is slow, contemplative, and poetic, allowing silence and imagery to carry emotional meaning. Dialogue is often sparse, yet every interaction feels heavy with the awareness of disappearing civilizations and fading human relationships. Ultimately, the film is less concerned with technological advancement than with emotional survival. Even after humanity leaves Earth and transcends ordinary concepts of time, people continue searching for intimacy, understanding, and belonging. Cosmo Corpus becomes a profound reflection on the idea that loneliness may remain humanity’s most enduring condition, no matter how advanced civilization becomes.
影片簡介(預告片/片段)
離開地球的人類與留在地球的人類，在時間彼端尋找彼此的存在。
Humans separated between Earth and space search across time for connection and meaning.
電影資料
導演：長谷川億名
類型：科幻、哲學、獨立電影、未來文明
製片公司：日本自主製作團隊
上映年份：2026
主要演員
佐渡島居民演員群
日本獨立電影演員陣容
總結
《コスモ・コルプス》是一部極具個人風格與哲學深度的日本獨立科幻電影。它沒有主流商業科幻的娛樂性節奏，而是以詩意影像、紀錄片手法與龐大文明想像，探討人類在科技與時間盡頭仍無法逃離的孤獨。電影同時也是一封寫給土地、記憶與人類情感的未來書信。對喜歡實驗性科幻、慢節奏哲學電影與獨立影像創作的觀眾而言，《コスモ・コルプス》是一部極具沉浸感與思考性的作品。
Conclusion
Cosmo Corpus is a deeply reflective science fiction film that transforms speculative futures into an emotional meditation on humanity itself. Through its fusion of documentary realism, philosophical storytelling, and expansive worldbuilding, the movie explores what remains of human identity after civilization evolves beyond Earth. Quiet, poetic, and visually haunting, it stands as a rare example of independent sci-fi cinema that prioritizes emotional depth and existential reflection over spectacle.
