Ginger Snaps

Ginger Snaps ★★★½

This is an era specific film for me in so many ways, as I think your average alt queer or alt female who would have been a young teen at the time might feel. I realized on this rewatch that I don't remember anything about this movie; I possibly watched 15 minutes of it got bored or scared or both and then acted like I was familiar with the movie for my friends. Also possible that I was as oblivious as usual and that my friends started talking about this movie as if it were a given to have been watched and I just didn't want there to be yet another piece of contemporary media that I totally overlooked. Listening to the soundtrack of this film prior to this (re)watch --which for the record fits the film oh so well -- I became visibly annoyed at the music, partially for how loud and annoying and mall-goth it is, but also partially because there are at least 4 bands on this soundtrack that I totally pretended I was a fan of back in those days. I did like the beginning framing of this oh-so-typical suburban subdivision, while not really groundbreaking in the suburb-horror genre, definitely executed the technique of the sub-genre very well. But then once our Ginger was introduced, I was like, omg you remind me of every angry edgy suburban chick I went to school with who ultimately lived a nice life with good parents, and even more so in Canada with your pampered little universal healthcare and nanny governments. It reminded me of why I was never really into the goth scene at school even if I quietly thought they were kind of cool...I just was never into the aesthetic - way too Northern European Pagan for my personal tastes and my personal experience. I like a good Catholic Horror just as much as the next guy, but you know, when it's regular ass people going through the horror, you know like Patricia Arquette's altogether sweet and put together yet party-hard, promiscuous, and casually atheist character in Stigmata which was a bit more reflective of who I was in my late teens and early 20s, and even still tbh. It just seemed a little too on-the-nose, trendy, and era-specific-edgy that the gothy girl becomes the lycanthrope - which for the record, if there weren't genuinely amazing horror to come out of the genres, I'd just as much never see another werewolf or vampire film ever again - going back to that whole medieval northern European pagan/piss-off-my-evangelical-parents aesthetic that I just don't really get into. Also the cultural psyche of this film is so inherently Canadian, and I often have a hard time really identifying with the underlying cultural currents of true Canadian media - there's definitely something that on a deep, subconscious level that makes it fundamentally different from the American psyche. Also, the last felt-like-forever minutes were so focused on a cat-and-mouse game that really focused on the technicality and practical effects of the extreme body horror of the werewolf, and I've had my fill of Canadian body horror practical effects ahem. I think I could have gotten into the werewolf transformation as an actually surprisingly effective metaphor for a girl's transition into womanhood. However, this film is ultimately just as much a mood and aesthetic as it is a parable and a story, and neither of the prior are my favorite cup of tea.

Thanks Edie for the suggestion :-)

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