Modern cinema has a huge number of expressive means thatallows to represent a diegetic space in a certain kind of artistic convention.One of such means is the attempt to create audiovisual relations that ensurethe reliability of the filmic action. Italian film director Matteo Garrone inhis works explores the possibilities of the soundtrack to form an audiovisualspace that would be organic to the chosen type of the artistic convention.Working with different genres of conditionality, M.Garrone neverthelessremains an adept of realistic style. It is particularly interesting to note thatGarrone’s realism is manifested in his films by the means of using plausiblesound, regardless of whether the documented outskirts of dirty Naples orthe embodied images of an ancient fairy tales are shown on the screen. Wecan define such an attitude to sound treatment as audiovisual plausibility –a strong correlation between imagetrack and soundtrack in every nuance oftheir alterations.The soundscape of M.Garrone’s films plays a fundamental role in theformation of his realistic director style. In this article, the soundtracks ofthree films by the Italian director (“Gomorra”, “Reality” and “Pinocchio”)are examined from the point of view of the choice of audio-visual artisticmeans, which allow him to physically materialize diegetic space. Sound gives«corporeality» to both pseudo-documentary and fantastic type of narration