Those who love people with dementia often experience the phenomenon of ambiguous loss, where the individual with dementia is both present and absent. This essay analyzes Kirsten Johnson's 2020 documentary Dick Johnson is Dead as a performance of ambiguity, extending Arthur Frank's (2013) framework of illness narratives and Kenneth Burke's (1945) concept of ambiguity. I propose that narrative ambiguity can serve as an organizing heuristic for understanding the complexity of ambiguous loss and dementia. The essay examines four key aspects of narrative ambiguity in the film: the ambiguity of presence, time, persona, and setting. By exploring these components, I demonstrate that performing an ambiguous narrative can foster acceptance of ambiguity for both the performer and the audience. Narrative ambiguity offers a valuable alternative framework for understanding ambiguous loss and broader narratives about individuals with dementia.