A German spy is passing on information about the location of Allied ships in the neutral harbor of Goa, India, with catastrophic results. Unable to undertake a full military operation in the Portuguese stronghold, English intelligence brings out of retirement a crew of geriatric ex-soldiers, veterans from World War I, using their age as cover. These old soldiers are asked to take to the seas and pull off an unlikely undercover mission.

If there is one person Matthew Lancit can’t get out of his mind, it is his uncle Harvey. Dark rings around his eyes, pale, blind, his legs amputated. Like Harvey, the filmmaker also suffers from diabetes. He has the disease under control, but one question is always nagging at him: How much longer? His long-term (self-)observation reliably revolves around fears of infirmity and mutilation. He translates the feared body horror into film, stages himself as a zombie, vampire, a desolate figure. Lancit playfully anticipates his potential decline, serving up a whole arsenal of effects which – as video recordings prove – go back to his youth. It is not for nothing that the “dead” in the title is also reminiscent of “dad.” Because “Play Dead!” also negotiates his own role as a father.

Reluctant kids’ entertainer, Alice, thinks her life has hit the bottom - until she accidentally kills her neighbour Thomas with her car and his ghost convinces her to hide his body. With the body decomposing, and the neighbours getting suspicious, they need a plan to keep Alice out of prison, and Thomas’ soul away from his nagging wife’s.