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Can you really miss the proper exposure by 14 stops and still get a usable image with motion picture film? (And if you do, who actually messes up that severely? Nobody you want working for you; that's who. )
Pretty much all color negative films have very good overexposure latitude. Underexposure is pretty limiting, relatively.
As for dynamic range of the film itself, it is also very broad with any color negative film. Getting all of that range onto a paper is the challenge. (To get the most contrasty situations onto paper requires masking, which involves a lot of tedium and a pretty hefty learning curve in the grand scheme of things. Most people do not do this.) Generally speaking, the less contrasty the film, the better it is in this regard, as large differences in brightness are rendered closer together in terms of negative density than with contrastier films. Your "professional" film choices (now, after recent discontinuations) for slower films are Portra 100, Ektar, and Fuji Reala. Unfortunately, neither of these is a "subdued" contrast/color film (like Portra NC or Fuji S are). Portra and Reala are pretty "standard," and Ektar is contrasty. Hopefully Fuji will get around to repackaging its 160S as 160NS and getting it back to the U.S. (like they said they would when they discontinued 160S and 160C over a year ago).
In short, I would use Fuji Pro 160S or Portra 160NC while you can still get them from retailers. Once they are gone, I would try Portra 100 and Reala.
Same for 400 films. Use 400NC while you can still get it. After that, Portra 400 or Fuji Pro 400H.
The choices are very limited. Portra 100, 400, 800, and Ektar are what Kodak makes now. Reala and Pro 400H are what Fuji makes, and Reala is only imported once per year TMK. (Or at least what they have decided to sell in the U.S.A.; they may make more products for their home market.)