Continuity: At the end of the movie, the priest hands Evita a goblet of wine. Before she can drink, she faints. the goblet drops to the floor but it is empty.

Factual error: During the riots and the start of the film a model of armoured car and grenade launcher are seen, which were not manufactured until the 1970's.

Continuity: At the beginning of the waltz for Eva and Che, Eva's hair falls out of place, but in the next shot it is perfect.

Continuity: Parts of the movie were filmed in Budapest/Hungary, and in the funeral scene Hungarian shopnames are to see behind the big pictures of Evita on the housewalls.

Continuity: In the opening scene, where Banderas is introducing us so enchantingly to the background to the film, while polishing glasses behind a bar, the fan behind him in the corner changes speed several times instantaneously.

Continuity: When Eva is campaigning for Peron's release from prison, at one point she's at a microphone, standing among a crowd of people. There's a woman in an orange dress who's off to her left in the wide shots, but in the close ups of Eva, the woman is suddenly directly behind her.

Continuity: In the flashback of Evita on the train, in the wide shot she has her hand up on the side of the window. Then it cuts to the closeup, and she puts her hand up again.

Revealing: When Eva is leaving with her suitcase, you can tell by the way she is holding the suitcase that she is ready to open it when it hits Magaldi.

Continuity: While she's singing "Buenos Aires" Madonna's stomach gets bigger and smaller all the time.  For the exterior night time shots in Buenos Aires, she's pencil thin; for the shots in the nightclub she's noticeably larger. Again, when she's descending the stairs from Magaldi's flat, she has her suitcase covering her stomach. Madonna was pregnant at the time of filming, but as such it is still a mistake within the film to see her figure change that drastically for no reason in the storyline.