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THE DEATH of both Ingmar Bergman and Michelangelo Antonioni on the same day this week seems like the kind of bleak joke that would come right out of their films.

In their own distinct ways, the two directors had a profound impact on the film world, changing the language in which movies speak to us. Bergman's deeply meditative and provocative work, epitomized in films like "The Seventh Seal" and "Wild Strawberries," introduced a certain literary depth to cinema that had not existed previously. In "L'Avventura," probably Antonioni's most acclaimed picture, the innovative use of space within the frame gave the story of urban lovers a mesmerizing air of existential alienation. What many others could accomplish only with pages and pages of dialogue, Antonioni could depict in one shot.

"There is no question they were titans of film," said Ned Hinkle, creative director of the Brattle Film Foundation in Cambridge. "They were launching points into understanding that film can be an art form."

With their most notable work decades behind them, it may be tempting to say that Bergman and Antonioni'srelevance faded late in their careers. This is far from the truth. Their significance endures as a direct influence on contemporary filmmakers.

Woody Allen's "Love and Death" is in part a playful homage to Bergman, one of his central influences. In his film "Manhattan," a character played by Allen confidently proclaims the Swede "the only genius in cinema today." Allen is the most cited Bergman appreciator, but there are more. David Lynch's mind-bending "Mulholland Drive" in 2001 was inspired by "Persona," which similarly left viewers scratching their heads 35 years earlier.

While further outside the mainstream than Bergman (who was famous enough to be parodied in the film "Bill & Ted's Bogus Journey"), Antonioni's style has also provided inspiration for many admirers. Hong Kong's Wong Kar Wai, director of "In The Mood For Love," cited Antonioni's directorial style as a key influence.

Representatives from the Brattle, Coolidge Corner Theatre, and Harvard Film Archive were discussing yesterday the best way to pay tribute to the directors. Given their tight summer schedules, no retrospectives are expected until the fall. And according to Hinkle, any tribute at all would fall short, because "there is no way to adequately celebrate their lives."

Indeed, the best celebration of the art of Bergman and Antonioni is in the many films and artists made better by their influence. Recognizing how much today's movies owe to these two titans of film is a good first step toward a proper tribute.