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That's "Honey"'s main strength: Golino and her screenwriters acknowledge, but refuse to judge Irene's selfishness. Irene knows that imposing herself on Carlo is a fundamentally self-serving thing to do, even if it has mutually beneficial effects for him and her. But it's telling that the best scenes in "Honey" are the ones where Irene is losing herself. They're the moments where she allows herself to unclench, like when she rides her bike, or swims, or stares at the sun. Trinca's body language makes these beguiling scenes count. Irene's not just altruistic, nor is she selfish. Her anxieties often speak for, whether she means for them to or not. And that's refreshing.