Focusing on the Holocaust bystanders’ video testimonies, I examine how the notion of landscape in a testimonial framework might help us to grasp the main paradoxes of testimony as a mode of relation to the past. Therefore, I outline the intertwining processes of digitalisation and petrification of the genre of Holocaust video testimony and its slow migration towards the (mythical) East of Europe: how at the same time it moved outside the safe space of library or home of the witness and ceased to be by default a survivor’s account. As I argue, in case of bystanders’ video testimonies, their topographical position and performance of the act of seeing create a complex and intertwined phenomenon through which the paradox of spatial testimonial index might be grasped, and these visual documents – construed as a form of digital transmission of the trauma of the Other – may compel us to confront the Shoah from an utterly different, more precarious standpoint.