Architect Louis Kahn's son explores his father's legacies of monumental, sacred space and multiple families. A touching and often sad portrait of an elusive father, the film is only uncomfortable when Nathaniel Kahn ambushes his subjects with his true identity. It also seemed a bit sacreligious to rollerblade across the courtyard of the Salk Institute. Was this a big "fuck you" to his father, or was it supposed to indicate whimsy?