Colour Psychology is a psuedo-science it's comparable to pre-formulated dream interpretations. You cannot assign meanings to colours which are textual abstractions not mathematical facts, its called the pathetic fallacy, in which humans attribute emotions to inanimate objects or things in the natural world (it was actually a form of art criticism developed by John Rushkin around Romanticist art). Doesn't mean we cannot evaluate colour and lighting as a poetic material just means you have to connect it to everything else and make a synthesis. I would say most of the craft regarding colour comes from intertextual research (other films, art works, specific cinematographic/photographic looks and effects) by the DIR/DOP/Poducer etc & investment/trust in the the COLOURIST who is actually doing this very nuanced job. Moreover there are just the limits of the technology that the film was made with that will be factors i.e. certain film stocks made in the 80s shot on old anamorphic lenses with certain lens coatings, with certain lights and paints from that era, telecined into oblivion, rediscovered re-scanned and re-coloured. see how deep the rabbit hole goes.