A nonconformist working within the New Hollywood studio system, even as he undermined it and disregarded his overseers’ ideas on what sort of movie they were making, the Oscar-winning editor-turned-director made seven features in nine years. The list starts with one nervy social satire “The Landlord” (1970) and caps Ashby’s decade of beautiful dreamers with another one, “Being There” (1979). The rest of Ashby’s ‘70s went like this: “Harold and Maude” (1971); “The Last Detail” (1973); “Shampoo” (1975); “Bound for Glory” (1976); and “Coming Home” (1978). In various keys of rue and longing, they spoke of alienation, isolation, bucking the system, relating, breaking up, race in America, class in America, war in Vietnam, post-Watergate cynicism and whatever else caught his lens.