It depends. (Don't you hate answers like this?)
For each kind of colour film, the manufacturer is obliged to find a complementary dye "set" to use in combination with each of the three different wavelength light sensitive layers R, G, & B. There is a direct comparison of photo optical process analogous to electromechanical imaging materials and processes too.
The combination of the three dyes is compounded to satisfy different conditions.
• It has to work (produce an acceptable colour image).
• It must be a unique set of dyes to comply with our international legal patent system.
• It must produce clean neutral values without objectionable colour contamination in the highlights, mid-tones, and shadows.
Obtaining the X-Y Chromaticity values for the dye set and graphing them on normal (or fancy colour CIE Chromaticity) graph paper shows the information you wish. The X-Y Chromaticity value is the graphical location of the "colour" of the pigment used in the reproduction process. You can look them up or get them from the manufacturer; some needing more persistence than others.
When you get the values, plot the points on graph paper and connect the dots to see the area enclosed by the lines. This is the gamut of the dye set.
Each different film has a different dye-set, and thus produces slightly different renditions from one another. Ektachrome has a different dye-set from Fujichrome from Anscochrome from Kodachrome from Gaevachrome, etc.
Each Pantone colour, paint, etc. has coordinates too. You can see on paper that some colours cannot be duplicated by some dye sets because they fall outside the limits imposed by the dye-set shape.
Having the coordinates of any ink, dye, or pigment allows direct comparison between/among them. Similarly, the coordinates are known for sRGB, Adobe RGB, The human visual system, and larger which can be used to determine how a process will (or won't) make you happy. Different sensor values are also available and sometimes actual production test specs for your specific piece of equipment.
Those relying on various colour reading equipment, spectrometers, colour management equipment, etc., take little comfort knowing that no two pieces of equipment agree according to extensive testing under controlled conditions by the Graphic Arts Technical Foundation/Printing Industries of America. Link to pia.org