Was Bulcsu homeless?

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Yes, he lived in the subway, sleeping there. But we know from conversations with Muki, that he has a home in the "upper world", but he goes there less and less.

He hides from something in his past, or he is just in a deep depression. I think that's the basic state of Bulcsú, not counting all the metaphores and symbolism. :)

of course he has a home and good job in upper world.. but there was something in his head that keeps him underground - he killed 'it' in the last scene, it wasn't the mysterious killer died in final run (I think so :)).. great metaphor, no doubt.


http://www.kazmierczak.ovh.org/

From his conversation with Muki it seems to me that he hasn't been home in weeks (when he quits the job Muki says that he's been missing the "Buffe" and acting strange for weeks). Muki says he called him at home near the begining of the film, so we know he has one.

Personally I don't agree with the theory of Bulcsu actually being the killer. In the film Bulcsu is supposed to be just as confused as the viewers are. We spend the whole film wondering if the killer is really him. And he starts to wonder himself if he is crazy, and may actually be the killer (which is why he just closes his eyes and lets the killer walk away after he pushes Bootsie. He isn't scared of the killer as much as he just isn't even sure whether the killer is really there, or just in his head). But by the ending scenes of him finally confronting the killer it seemed obvious to me that the killer is real, and that Bulcsu realizes that as well, which is why he follows him and fights him. Then when he makes the final rail run and the killer gets... well killed, he finally realizes that he isn't crazy, at least not anymore (because obviously he has had problems in the past), and he finally feels like he can leave the subway, and go with Szofi.

There are a number of religious references in the film (ie. the prolonged close-up of Bulscu's injured hand which resemles stigmata, the emphasis on the escalator which suggests ascent to heaven and descent to hell, the discordant presence of the owl which I believe to be a God symbol, etc.) which I feel are key in understanding the filmmaker's intent.

Bulscu's struggle evokes Jesus' descent to hell following the crucifixion before his eventual ascent to heaven. It also possibly draws inspiration from the story of Job being tortured by God as a test of his faith. Bulscu has multiple opportunities to perform evil deeds. The film creates a world in which the ticket inspectors abuse their authority as a rule. They harass people, grope women, pick fights, etc. Bulscu declines to do so, most notably in his first meeting with Bela's daughter when he lets her go rather than begin a confrontation which all of his peers are doing. Even more blatant is the railing race with Gonzo in which he momentarily pauses before rescuing Gonzo from the track. He could have allowed his greatest rival to die in the tube, but he rescues him anyway, a piece of kindness later rewarded by Gonzo's team lynching him in the subway car.

Much as Job and Jesus, Bulscu is tortured repeatedly as a test of his nature and faith. He is constantly under watch by sinister eyes (the cameras and "the suits"), baiting him to indulge his darker nature and sacrifice his humanity. Laci has failed the test and destroys his own life by cutting a man's throat. Gonzo squanders the second chance at life given to him by Bulscu and ends up a ruthless thug skulking the tubes. Bulscu is also being watched by more angelic forces. Bela's daughter wears a bear costume and the God figure takes the form of an owl, a marked contrast from the sterile and technological aesthetic of the evil forces. Bela's daughter guides him at one point to confront his own evil nature in the form of the hooded killer.

In sum, Bulscu is the murderer. (After they wrestle in the supply room during the rave, Bulscu gets up from under the shelves alone. There is no second person there). The final race through the tube is a race for his soul, a contest won by his good nature. He is rewarded by Bela's daughter, clad as a kind of angel (I know she's supposed to be a fairy, but think metaphorically here) guiding him up the escalator which turns on for him. The owl is pointed out to him, signifying God's permission for him to leave the metaphorical hell of the tubes and ascend to heaven.