New Yorker developed a close relationship with the filmmaker once known as “the Japanese Godard,” Nagisa Oshima, and they programmed a groundbreaking retrospective of his early films during their brief tenure at the Metro on 100th Street. This disarmingly atmospheric portrait of a family’s collective psychopathology recounts the saga of the Sakurada clan, whose decline plays out over the course of 25 years and multiple funerals and weddings. Operating at the height of his iconoclastic powers, Oshima renders the family’s unraveling with an arresting sense of foreboding and an air of gothic fatalism, enriched by Tôru Takemitsu’s quintessentially modernist score.