Since cinema is based on visuals, its roots can be traced back to ancient traditions of image representation, particularly in painting. In the meantime, among filmmakers, some consciously refer to artworks, Notably, paintings, aiming at creating their desired concepts and establishing a powerful intertextual relationship between movie and painting by doing so. Roy Andersson, a Swedish filmmaker, is one of these filmmakers. The main question of this article is how paintings inspired Roy Andersson in creating his film sequences. This question aims to learn more about the relationship between Cinema and Painting in his films. Therefore, the relationship between The History of painting art and his films is discussed with a descriptive approach and in the way of finding similarities. Given the special effects, scene composition, and character portrayal in his films, we can claim that Andersson refers to a wide spectrum of prominent artists throughout art history, besides drawing inspiration from them in various ways. His influences from the artists of the Renaissance era to the contemporary period include Francis Bacon and Hockney; however, he predominantly refers to modernist painters. Each painting influences him differently, from elaborate scene setups inspired by Bruegel the Elder to faithful reproductions of other artists’ works that can be interchangeably observed in his movies. The extensive references to painting history in Andersson’s works make the comprehension of the profound artistic language and quality of his movies, dependent on the knowledge of art history so as not to be misunderstood.