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Is it only me, or have we reached a saturation point with ‘psychological thrillers’ and wannabe noirs dealing with ‘lies, deceit, betrayal’? Barely a week after Gehraiyaan, we have a mountain noir in Mithya and a Mumbai noir in Bestseller. Each has a dead body or two, each has cheating partners at the heart of the narrative, each aspires to the same kind of technical aesthetic (‘moody’ lighting. ....