From the approaches to the witness that Shoshana Felman made in her volume Testimonio. The witness crisis in literature, psychoanalysis and history, in this article three testimonial moments will be approached linked through the elaboration of this subjectivity, that narrates to enrich or discover new elements about events of violence. The first within the novel La dimension desconocida (2016) by the Chilean writer Nona Fernandez; the second, in its entirety, the book Cortezas (2011) by the French Philosopher Georges Didi-Huberman; a chapter in the journalistic investigation, Sangre en el divan. El extraordinario caso del Dr. Chirinos (2010) by the Venezuelan journalist Ibeyise Pacheco. The above with the purpose of problematizing how three different discursive formats appropriate this typology and produce new views from where to read them: a fictitious witness, an emancipated witness, and a witness catalyst. The authors used as methodological support were Nora Strejilevich, Luis Ignacio Garcia, Pilar Calveiro, Jaume Peris Blanes, Giorgio Agamben and the aforementioned Shoshana Felman and Georges Didi-Huberman, the latter with two theoretical texts. Among the projections emerged from this article, it might wonder if the witness, traditionally a credible and fruitful figure because of the testimony that raises, many times at first-hand and / or with relevant information to know more about an event, it could become an uncomfortable and destabilizing subjectivity.