Unlike Marie De France's "Bisclavret" and Angela Carter's "The Company of Wolves," I argue that Ginger Snaps challenges the traditional portrayal of the werewolf as a monster by putting it into female adolescence, something that is already abject. Most scholars, like April Miller, Erin M. Flaherty, and F.A.O Janssen agree that the idea of the female werewolf is constructed as an extension of self, an image of an already marginalized Other. Using a monster studies lens, I will show how the film highlights modern cultural anxieties surrounding the female body, how it pushes boundaries regarding femininity and female sexuality, and how it shows the instability of the female body in a way that makes a normal but culturally taboo part of growing up into a monstrosity. Its narrative still invokes and centers on shame and the inability to control one's transformation into a beast, but Ginger Snaps also portrays a sense of freedom that has been previously denied to the female werewolf, and the eventual embrace of one's own monstrosity.