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Eric Rohmer, one of the most representative and prominent directors of the French New Wave era, has produced dozens of films during his lifetime particularly nourishing on the French literary tradition. He was most exceptional and incomparable to any other figure in exploring the relationship between dialogues (paroles) and visual images and strongly believed in the inherent power of dialogues (Rohmer, 1989:46-52). He elucidated his thoughts on the relationship between dialogues and visual images by borrowing the term ‘discourse (discours)’ from the realm of literature. Later on, Delleuze further developed these ideas into a discussion about the cinematic free indirect dialogues within Rohmer’s films. In this context, this paper aims to study the cinematic dialogues in Rohmer’s films and discuss subtitling translation in Rohmer’s own dialogue terms particularly by focusing on concrete examples found in his film My Night at Maud’s. The main purpose of proceeding with this study is to advance the general discussion about subtitle translation into a deeper level of translation study focusing on an individual author and his masterpiece (oeuvre). Furthermore, I intend to show the possibility of how subtitles can be established and created as another subject based on the relationship of the two subjects, the audio and visual image. Most importantly, it is almost impossible to anticipate translation to be successful in practice if such possibilities of a subject are hardly presumed. Subtitles are, nonetheless, still subordinate to visual images and much prejudice continues against audiovisual translation under claims that it is far incoherent compared to other genres of translation. This article therefore seeks to reexamine whether such biases are pushing the potential of subtitles out of the screen and study field by focusing chiefly on its limitations.