Émile Friant painted portraits and scenes of the French countryside. He had, to me, a decidedly cinematic eye -- his genre paintings are not sentimentalized and they have a bold, dynamic quality based on spatial compositions of great though subtle power. They remind me of Bertolucci's images in 1900.
The painting above uses a technique Tissot was fond of -- creating a space in the foreground that instantly occupies one's attention but which also opens up into a deep space beyond. Spaces opening up into deeper spaces instantly summon up the idea of movement, of the potential for movement -- they almost produce a sensation of movement. This and their photorealistic quality are what to me give them a cinematic quality.
Friant was a late Victorian -- he lived until 1932, well into the era of the Impressionist triumph. Like John Singer Sargent he borrowed a freer approach to brushwork from the Impressionists while remaining true to the basic aesthetic ideals of the Victorian academy.
You can see more of his paintings here, at the Art Renewal Center.