Yes — though fewer than books, because film tends to resist the structure. A story where the ending is already known drains the usual engine of suspense, so the filmmakers who attempt it have to find a different motor: dread, ripening, or recognition. #m The Tree of Life (Malick) is the most obvious. The film opens with the death that the whole life has been moving toward, and everything after is the soul learning to assent to what it already knows. Malick is explicitly working in the Augustinian mode — the conclusion announced, the life written backward toward it.

#m Stalker (Tarkovsky) is about three men traveling toward a Room that grants your deepest wish, and the film's terrible joke is that they already know what they want and cannot bear to enter. The conclusion is available; the courage is not. This is almost a literal dramatization of your sentence.

#m A Hidden Life (Malick again) — Franz Jägerstätter knows from the first frame that he will refuse the Hitler oath and die for it. The entire three hours is the working-up: the skills of conscience, the courage of a man becoming equal to a conclusion he reached long before the film began.

#m First Reformed (Schrader) — Toller knows where he is going. The film is the closing of the distance.

#m Ikiru (Kurosawa) compresses the structure: a man receives his terminal diagnosis and the rest of the film is him becoming worthy of the one act his life has been pointing at.

#m The Seventh Seal (Bergman) literalizes it — Death is already at the table in the first scene. The chess game is just the time needed to arrive.

#m Silence (Scorsese), from the Endo novel, is the Kierkegaardian version: Rodrigues knows what faithfulness requires and spends the film discovering he cannot do it — or that what it required was the opposite of what he thought.

#m Andrei Rublev is the slow ripening toward the final bell, the vocation the artist has been circling without touching.

The genre name for this, loosely, is "transcendental style" — Schrader wrote the book. It's the cinema of patience, where plot is replaced by the approach to something already fixed.

Given the Dante work you've been doing, The Tree of Life and A Hidden Life are the two that will likely feel closest — both are structured as ordered ascents toward a love that was there from the beginning.