Jacques Aumont (1942) is a French academic and film scholar. He started out as a critic at Cahiers du Cinéma in the late 1960s under editors-in-chief Jean-Louis Comolli and Jean Narboni. He is professor emeritus at University of Paris III: Sorbonne Nouvelle, director of studies at the School for Advanced Studies in the Social Sciences and currently teaches at the École nationale supérieure des beaux-arts in Paris. As an Eisenstein adept, Aumont participated in the French translation of several writings by the Soviet filmmaker. The books he has published include Esthétique du film (1983), L’image (1990), De l’esthétique au présent (1998), and Limites de la fiction (2014).
Le sujet de tous les films du monde, c’est : je t’aime-tu m’aimes, ou alors, je t’aime-tu ne m’aimes pas ; je et tu, répartis entre amants et parents. Ce film a pour sujet le sujet de tous le films : mon « cher » sujet, mon cher « sujet ».
The subject of all the films in the world is: I love you-you love me, or rather, I love you-you don’t love me; I and you, distributed among lovers and parents. This film’s subject is the subject of all films: my “dear” subject, my dear “subject.”
In Hong Sang-soo’s work there is a constant trait, which is neither really stylistic (it’s not a matter of form), nor frankly thematic (it’s not a matter of content either), and which returns, like a butterfly – and even, as its course is erratic, like a moth, the ultimate uncatchable insect. You will forgive me for calling this trait idiocy, a striking word that somehow touches the singular art, so difficult to describe in sentences, of this not exactly talkative filmmaker.