HAMILTON, Ont. (CUP) — Canadian songstress Leslie Feist has spent the better part of the last decade under the luminescence of the world's spotlight, earning multiple Juno awards and multiple Grammy nominations.

But if the name doesn't ring a bell, most people simply know her as "that girl from the Apple commercial."

After cutting her teeth with Toronto indie giants Broken Social Scene, Feist found success through showcasing her prowess as a solo act, with the single 1234 propelling her 2008 record The Reminder into international levels of acclaim, with over 1.5 million copies sold to date.

Yet in the shadow of that ubiquitous girl-with-a-guitar image lays a group of contributors that have been just as important to her radiance. The substance of Feist's own stature is very much concealed in a veil of colours behind her, and puppeteers, musicians and visual artists are all part of the production.

Fittingly then, her most recent endeavour with film auteur Anthony Seck pulls back the curtain on what she describes as her "amplifiers" in a documentarymeets- poetic piece titled Look at What the Light Did Now. Culled from hundreds of hours of footage taken during the writing, recording and cross-continental touring of The Reminder, Seck sheds light on the helping hands behind the creative process of Feist.

The film was shown at a soldout screening in Toronto last week that brought out hometown fans and artists alike, including members of Sloan, The Barenaked Ladies and Howie Beck, to celebrate the Canadian indie darling.

Seck takes us on a visual journey of the 2007 tour, while circling back to cover the album's recording process in a decrepit French mansion, then forward to the creative assemblage of her very image. And in this collaborative frame of motif, we learn that the songstress is very much reliant on the support and comfort of those around her.

When performing in a packed arena, she shies away from the glare of the spotlight over top, as one interviewee notes her fear of being "exposed" and insistence of being dimly lit. Instead, a canvaslike backdrop of kaleidoscopic shadows and clay finger-paintings are projected behind her, as puppeteer Clea Minaker and her helpers craft a visual masterpiece from the back of the stage.

Swift montages of the creative processes behind choosing the album's artwork reveals a whole new perspective on each helper's absorption in the finished product too. We learn that the iconic shot of Feist's silhouette was pushed more by the photographer behind it, and that the multi-coloured streamlines in the artwork are artist Simone Rubi's conceptual idea of human connection.

Ultimately, the film unveils a vibrant world behind the shadows of one artist, whose path to stardom is just as colourful as it is brimming with like-minded personalities. The film itself is not so much biographical then, as it is impressionistic to the viewer in revealing that sweet spot of where art meets music, which certainly resonated through the warm Toronto reception.

In a brief chat after the screening, the leading lady couldn't help but gush about the importance of bringing the film back to where the bulk of her career took off. She explained, "The film's been screening all over the place, and this one's smack dab in the middle. But it's certainly the most special because it's where everything started.

"The stakes are higher because everything's a little harder at home. But everyone's been so enthusiastic tonight, and I can only hope for the same wonderful reception with the rest of the tour," she added.