Nine inks and six stocks, tried across a poster, a cover, a screen and the timetable, all cut from the real festival sheet. Tints index the days; stills can be printed in the one ink; every pairing is measured for contrast.

Colour printed once across the whole 2.7 m sheet: a tint for each day, one ink running into another, or a tint to every cell. A run of 24 A5 covers then comes out 24 different colours without anyone choosing one.

The other end of it. Every film flooded with the colour of one of its own index fields; the stills, the gesture and the information split onto three plates in three inks, with the crossings making their own colours; or one ink over everything with the whole festival reversed out of it. Off register up to 12 mm.

Colour is the day, and the scheme is reset each year: five colours, one to each of the five days. Down the outside of every page runs the whole festival as a ruler of film numbers, with the films on that page marked on it in the colour of the day they screen, bleeding off the trim. The shut book shows the programme on its edge, and 34 pages against 152 films makes a map of the whole festival.

If colour is reset each year it should be arrived at, not picked. Two algorithms take the record as it stands and return a hex for the year, each day, all 40 screenings and all 147 films that screen. They run in opposite directions. Handed down starts at the year: the edition sets the hue, the day turns it along an arc, the screening is a shade of that day, and the film is a tone made from its screening's number times its own running time — a pattern, not a ramp. Added up starts at the film, the only thing read from its own record: country, code and duration. A screening is then the mean of its films' hues taken as directions, their runtimes averaged, and a strength from how much they share their themes and how much they agree; a day is made of its screenings, the year of its days. The festival's colour is whatever the programme turned out to be, and the whole family turns each edition. Worked out in OKLab so a shade and a tone are even steps, with every colour walked back into what sRGB can print. Click anything and it says how it was reached.