The art of film has been in a dialogic relationship with traditional arts, especially painting, since its beginnings. In order to determine and define these relationships in general, this paper examines the film within the framework of visual arts, and the film image is observed in relation to traditional painting, especially with an emphasis on common formal and narrative elements. However, the basic difference between traditional and film images is in the movement. Namely, the film image is moving and takes place over a certain period of time, which was intensively dealt with by film theories in the 1970s, and especially by the apparatus theory. With the assumption that, in the physical world, artworks are perceived as aesthetic phenomena, therefore different from other sensory objects, the framework of analysis in this paper belongs to the phenomenological philosophical method. Namely, phenomenological theories of art perception imply the observer's ability to overcome their own perceptual processes in order to realize the idea that the work of art represents, while the observer is led to experience an object that is not necessarily represented in the work itself. Film is a hybrid medium in whose visual language intermediate processes are realized and it manipulates the formal characteristics of painting. Film representations of painting evoke the fluid and intermedial nature of the film medium, and are categorized according to the way of representation in documentaries about art, biographical films about artists, film scenes in museums, and direct painting quotations in film and tableaux vivants. Although the theoretical background of each type of representation is presented in the paper, those painterly quotations in the film context are elaborated in particular. In the analytical part of the work, the selected films were classified according to genres, and three examples were analyzed in each genre category through the prism of the descriptive phenomenological method. Through the interpretation and synthesis of painterly quotations on film and quoted painterly works, formal, dramaturgical and authorial tendencies are demonstrated in the film portrayal of the emotional, psychological and physical states of film characters.