Higher color gamut alone would benefit it and HDR would be icing on the cake.
Film doesn’t have a “colour gamut”, it’s basically got intensity of reds, greens, and blues which is represented by each corresponding resistive dye layer (magenta blocks green etc). Film has a bit_ more in the reds and oranges and a little bit more in cyan blue and yellow compared with Rec709, but that’s it:
Thanks for the above explanation, RU.08. I feel that photochemical colour timing is an organic process that has physical limitations based on the dyes and the chemical reactions that take place. With digital, you could do a lot more; which doesn’t make HDR or Dolby Vision better by default. It’s just a different look. If the final product looks good in the rec 709 or at most Rec 2020 SDR colour space and matches with the look of projected film, then it’s job done I think. I don’t consider HDR or Dolby Vision to be an absolute necessity when preserving 35mm film. But who knows, I may be wrong.