Someone finally made a truly 3D movie
But whether you're interested in his avant-garde musings or not, there's one big reason to see this film: it may be the first one that really uses 3D to do something new.
Godard, on the other hand, manages to film the world in 3D very much as we see it, using a long depth of field that makes the film’s world extend far into the distance. On top of that, many of the scenes are deeply layered, making the 3D effect more prominent than usual. In one scene, there's a good seven layers from front to back (not counting the actors): a potted plant, a chair, a bike, a barrier, a house, another house, and finally some trees. It’s one of the first times in a 3D film that the image truly looks like it has depth.
He mixes 2D and 3D
The more interesting use of 2D, though, is when archival footage (or, at least, what looks to be archival footage) is interspersed with the newly shot 3D footage in the film. In many ways, this is a modernized equivalent to cutting back to a black-and-white flashback. The fact that it's 2D lets us know that it's out of the modern narrative.
He totally messes with your vision
Sometimes the 3D in Goodbye to Language looks crisp, clean, and downright gorgeous. Other times, it'll drive you cross-eyed — and that's exactly what Godard wants to do.
See the full story here: http://www.theverge.com/2014/9/21/6563495/goodbye-to-language-godard-messes-with-3d-and-its-awesome