Wind From the East is a product of Jean-Luc Godard's involvement, during the late 60s and early 70s, with a collective filmmaking experiment known as the Dziga Vertov Group.The film is, typically of the films he made during this period, about ideas and simultaneously about how best to express those ideas through the medium of film.The film deals with the situation of a strike and, during its first half, methodically analyzes the different components of the strike: the workers, the radical students who encourage the strike while not quite being able to communicate in the same terms as the workers, the union delegates and other middlemen who preach moderation and compromise, the employers who demand the immediate resumption of work, the police state that suppresses the strike on behalf of capitalism.
Some voices, in sympathy with socialist ideas, advocate for small measures, for small steps and incremental advances, while other voices, representing the bourgeois and the capitalist classes, say that things are already good enough, or getting better, that the strike is accomplishing nothing, that it should end already.
Both of these views are contrasted against the voice of the agitator, the radical, the militant, who denounces both those who say that the work is already done and those who say that the work should proceed more slowly.
Godard doesn't speak himself, but it is obvious that this last voice is representative of his own.
The film's soundtrack essentially tells its story, subverting the conventional narrative expectations of the cinema.
Its images, related only tangentially to this tale of strike and conflict, instead depict a pastoral rural setting through which various characters wander, dressed up to symbolically embody the various voices of the soundtrack.