That's the Woman I Want (Spanish:Yo quiero una mujer así) is a 1950 Venezuelan-Argentine comedy film directed by Juan Carlos Thorry and starring Olga Zubarry, Francisco Álvarez, Héctor Monteverde and Amador Bendayán.

Having been in the group summoned to Venezuela, he had only intended to act, however, after El demonio es un ángel and while director Christensen began filming The Yacht Isabel Arrived This Afternoon, Thorry found himself with three months to spare.

He received the approval of the production company, and had Juan Corona's story in mind when he briefly returned to Buenos Aires to hire Olga Zubarry and Francisco Álvarez.

[6] Some of the film was shot in La Guaira, specifically scenes of Lindolfo arriving at the airport and Ruperto driving him up the mountains to enter the city of Caracas.

[9] In terms of the film, the marketing had "explicit genre labels, [...] elements such as the production company and the participation of national artists and international stars" as well as slogans.

[8] Some of these slogans explicitly promoted the Venezuelan composer Eduardo Serrano, while others took on the style of a notice to advertise the leisure opportunity of cinema, one reading: "Forget the war and the earthquakes and foot-and-mouth disease watching the comic hit of the year!

"[8] Some of the promotions of the film before its release also include newspaper interviews, which lean more into the 'star' aspect by introducing Argentine actor Francisco Álvarez as "the popular comedian".

[12] In terms of storytelling, Colmenares notes the use of dramatic irony and juxtaposition, saying that: ...much of the film's comedy depends on the viewers' ability to contrast the actions and reactions of the characters; on the other hand, the alternating editing in conjunction with the entrances and exits of the characters in situations that threaten the revelation of identities and the end of the farce, creates a suspense that, wisely managed, reinforces the interest of the spectator...Colmenares compliments the use of this system, but notes that the film feels "disharmonious" because of a disparity between the styles of the Venezuelan and Argentine actors in it.

[12] In his thesis, Jesús Ricardo Azuaga García adds to Colmenares' analysis by writing that "the truth is that this comedy tries to respond [...] to a mode of representation institutionalized by Hollywood and followed by the Argentine industry", aligning the format whereby viewers know even the characters' most hidden secrets and those between the lines to a United States ideal.