Four facts, four channels, each sitting inside the one before it. A film cannot take a colour that does not belong to its screening, its day and its year, so a page of them is visibly one festival. The film's tone is its screening's number times its own running time, folded by a prime, so a programme patterns rather than ramps and two neighbours in it are unrelated — but the same film in two different screenings is not the same colour twice.
Only the film is read from its own record — country, code, duration. Everything above it is made out of what it contains: a screening is the mean of its films' hues taken as directions, their lightnesses averaged, and a strength from how much they share their themes and how much they agree. A day is the mean of its screenings, the year the mean of its days, turned by which edition it is. The festival's colour is therefore whatever the programme turned out to be — change the programme and the identity changes with it.