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The Movie Named “Ginger Snaps”


The way people perceive different monsters, such as vampires or witches, in movies can be far from the message they actually convey. The same applies to the movie named Ginger Snaps that tells the story of two sisters, one of which was bitten by a werewolf. They have been bullied by their classmates before, and this circumstance adds to the complexity of the girls’ lives in the process of growing up. When one of the sisters turns into a monster, the shift in her character reminds her of a confident mature woman. Hence, this process is metaphorical puberty that the girl faces. The change in one of the sisters, in this case, is shown through this metaphor and this perspective changes the whole meaning of the movie.

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To reveal the true message, one needs to pay particular attention to the words of the characters. Thus, for example, in Ginger Snaps, Ginger, the sister that was bitten by a werewolf, often talks about not knowing who she is anymore or the feeling that they do not seem to be related (Ginger Snaps). She reveals her new thoughts, thereby surprising her sister, Brigitte, and showing the difference in their perceptions. It allows concluding on the inclusion of numerous hints by the film director, leading the audience to the idea of puberty.


In the end, Brigitte accidentally kills Ginger, as she cannot control herself anymore. However, the outcome could have been different if she understood her sister. In a metaphorical sense, the act of killing reflects the lack of understanding between them as Ginger becomes more mature than Brigitte. Hence, the transformation into a werewolf can be associated with the transformation into a woman. Such a tragic end indicates the impossibility to understand each other while being at different stages of psychological and physiological development. In this case, the perception of Ginger as a monster indicates the difference between her and Brigitte that the latter cannot explain.

Work Cited

Ginger Snaps. Directed by John Fawcett, performance by Emily Perkins and Katharine Isabelle, Motion International, 2000.

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