Let's break down why. First of all, it's a frame within a frame within a frame. That's fun for fans of post-modernism, or fans of framework well done. Second, they're in a limo in a non-normal limo setting. A limo in the woods? We really only see that in movies about murder in the upper crust and hoity-toity bridesmaids parties. That's a classic non-limo limo location. Third, we have their pose. It looks like Fisher is telling Lourd something about the world. In a way, she must be. Or the image tells us really all that we need to know. That she's sitting on her mother's lap exiting a limousine tells us that she's already internalized more about the realities of fame than you or I ever will. (Note: Ignore previous sentence if you are extremely famous. If the note applied to you, please give me one million dollars.) So we have fame passed down from mother to daughter in a naturalistic setting while they're being transported through it in the height of luxury. My friends, that's classic juxtaposition. That's the stuff that capital-A Art is made of. And then once you start drilling down into the frames within frames, and how limos frame the famous as being worth of fame by the sheer space they occupy on the roads, the sheer excess of car, you get into commentary territory. Good pic.