The intertextual dialogue between art and literature has played a significant role over the last centuries and even more so in contemporary fiction, as evidenced by the growing number of works that explore this theme. Considering the term interfigurality as a starting point, the character of Ophelia in Lisa Klein's homonymous novel Ophelia (2006) may not be considered to be exactly identical to the one depicted in William Shakespeare's Hamlet (1603). What Lisa Klein intends to offer is Ophelia's story from her own perspective since she had been silenced or to a greater extent, depicted by the male gaze such as her own father Polonius or Hamlet himself. That is why it is impossible to have two identical characters in two literary works by different authors. There is also a fine example of pictorial intertextuality in the film version of Klein's novel released in 2018, as it features images of Ophelia from the Pre-Raphaelite paintings. To examine the concept of reverse ekphrasis, I will examine John Everett Millais's painting Ophelia, which depicts Ophelia's drowning in Act IV. There have been many references and pastiche images of the drowned woman in art, film, and photography. Klein's intertextual dialogue with this Pre-Raphaelite painting, as well as the film adaptation of this novel, demonstrates the complexity of pictorial-film intertextuality. In order to demonstrate this, Shakespeare's text produces two dialogues that are in accordance: first, this text is transformed into images leading to the Pre-Raphaelite paintings, while Lisa Klein's novel is told from Ophelia's perspective through interfigurality. The mediums of image and word then are combined into creating another image, since Klein's text and the aforementioned Pre-Raphaelite painting are incorporated into a film adaptation. Keywords: Ophelia, Pre-Raphaelite painting, pictorial intertextuality, reverse ekphrasis, interfigurality