This study focuses on the underexplored subject of sound design in documentary film aesthetics. Creating a soundtrack for all genres of cinematic narratives is, in a sense, an “interactive design”. As the significative component of soundtrack design in fictional films constitutes the “aesthetic dimension”, in documentary films, this component is created by the combination of ‘data-sense-aesthetics’. The extent to which soundscapes related to the environment and locations depicted in documentary films are reflected in the construction of the film's soundtrack, and/or the necessity of their reflection, constitutes the main problem/question of this study. The main suggestion of the study -excluding a few mods - is the necessity that the “founding role” in the soundtrack design of documentary films should be addressed from the perspective of cultural geography and/or sound landscape. The soundtrack (music, environmental sounds, and ambient sound) design in documentary films should be created with sound components specific to that locality reflecting the geographic/spatial inspirations. Although they are of secondary importance in fictional films, the design of these components is of primary importance in documentary films. The reason is that these sounds have cultural and social connotations. In this study, the role of the sound landscape was examined; the relationships between spatial environments, background sounds, and place/space (cartographic) sensations have been studied through the sampling of different films. In order to reach more concrete data, two films were considered as analysis objects, and these films were examined through sound-space-geography relations.