Age: 47
male
Dmitri Petrovich Dyuzhev (Russian: Дми́трий Петро́вич Дю́жев) is a Russian film and stage actor, singer. Dmitri was born to actor Peter Dyuzhev and Ludmila Dyuzheva and attended the Moscow Philharmonic School (GITIS) to study acting and directing. Prior to his film debut in “24 Hours” by Alexander Atanesyan in 2000, Dmitri performed in theatrical plays. His first major success came in 2005, with his performance as Kosmos in Aleksei Sidorov’s “Brigada”. He has since met with considerable Russian acclaim, landing major roles in award winning and top grossing domestic films alike.
Inside a neglected asylum on the edge of a forgotten town, Ward No. 6 holds five men whose lives have been reduced to a series of routines, outbursts, and distant stares. The room is small, damp, and worn down—yet it becomes the center of a quiet, unsettling story about the thin line between sanity and despair. Among its residents are a silent giant who reacts to nothing, an old man who sings to himself as he darts between windows, and a peasant so unresponsive that even violence fails to move him. But it’s Ivan Dmitrich Gromov, a former court clerk haunted by relentless paranoia, who draws the attention of the asylum’s doctor. Dr. Andrey Yefimich, a reclusive physician lost in his books and abstract philosophies, visits Ward No. 6 out of duty—until his conversations with Ivan become the only moments he truly feels understood. Their exchanges shift from formal checkups to long, restless discussions about fear, suffering, and the meaning of human existence. As the bond deepens, the boundaries between doctor and patient blur. Andrey, who once believed suffering could be reasoned away, finds himself confronting questions he had always avoided. Ivan, a man swallowed by terror and past trauma, challenges every certainty the doctor has relied on. Around them, the asylum’s staff grows wary. When a new physician observes the unusual closeness between the two men, suspicion spreads through the institution. What begins as philosophical dialogue slowly becomes a test of perception—of who defines madness, and what happens when the one who observes begins to resemble the one observed. Ward No. 6 unfolds as an intense, atmospheric drama about isolation, compassion, and the fragile relationship between the mind and the world around it—capturing the moment when curiosity turns into involvement, and involvement becomes something far more dangerous.
